1 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/bookofraphaelsma00walk_0 


OF 


BY  JAMES  P.  WALKER. 


NEW  YORK: 

LEAVITT  AND  ALLEN. 

1 860. 


Entered,  according  to  Aft  of  Congrefs,  in  the  Year  of  our  Lord  i860,  by 
LEAVITT  & ALLEN, 

in  the  Clerk’s  Office  of  the  Diflrift  Court  of  the  United  States 
for  the  Southern  Dillrift  of  New  York. 


John  F.  Trow,  Printer  nnd  Stereotyper, 
379  Broadway,  Now  York. 


Contents 


SUBJECT.  AUTHOR  PAGE. 

PREFACE, vii 

RAPHAEL,  .........  Washington  Allston,  9 

OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS,  ....  11 

HYMN  TO  THE  VIRGIN, Edgar  A.  Poe,  . 22 

VIERGE  AU  BERCEAU, 23 

INVOCATION  TO  THE  VIRGIN,  ....  Chaucer,  . . 25 

LA  MADONNA  DELL  PESCE, 27 

OH,  VIRGIN  MOTHER ! Dante,.  . . 31 

LA  VIERGE  AU  VOILE, 33 

THE  WORSHIP  OF  THE  MADONNA,  . . . Mrs.  Jameson,  . 35 

HOLY  FAMILY, Goethe,  . . 38 

MADONNA  DELLA  SEGGIOLA, 39 

MARY !.........  Shelley,  . . 43 

LA  VIERGE  AUX  PALMIERS, 45 

RAPHAEL  AND  FORNARINA,  ....  L.  E.  Landon,  . 47 

LA  VIERGE  A L’OISEAU, 51 

SONNET  ON  RAPHAEL’S  PORTRAIT,  . . Zappi,  . . 54 

RAPHAEL’S  GENIUS, 55 

SAINTE  FAMILLE  DITE  LA  PERLE, 57 


IV 


CONTENTS. 


SUBJECT.  AUTHOK.  PAGE 

STUDIES  OF  RAPHAEL, H.  W.  Beecher,  . 60 

HYMN  TO  THE  VIRGIN, F.  S.  Osgood,  . 61 

MADONNA  DI  FOLIGNO, 63 

STANZAS,  ........  Bernard  Barton,  68 

LA  VIERGE  AUX  CANDELABRES, 71 

THE  LEGEND  OF  SANTAREM,  ....  Caroline  Southey,  72 

LA  BELLE  JARDINIERE, 79 

THE  OLD  MASTERS, W.  S.  Landor,  . 81 

LA  VIERGE  A LA  REDEMPTION, 83 

LETTER  FROM  RAPHAEL, 84 

FROM  “THE  PALACE  OF  ART,”  ....  Tennyson,  . . 88 

LA  SAINTE  FAMILLE, 9! 

PAINTING,  . . . . . . . . P.  M.  Wetmore,  . 93 

TO  THE  VIRGIN, Novalis,  . . 96 

MADONNA  DI  SAN  SISTO, 97 

TO  THE  GENIUS  OF  ART,  . E.  A.  Lewis,  . 102 

MARRIAGE  OF  JOSEPH  AND  MARY,  . 


i°3 


fllustratira 


PHOTOGRAPHED  BY  E.  HUFNAGEL. 


ENGRAVED  BY  PAGE 


MADONNA  DELL  PESCE, 

• 

. P.  Pelee,  . Frontifpiece. 

VIERGE  AU  BERCEAU, 

. 

Desnoyers,  . 

23 

VIERGE  AU  VOILE,  .... 

. 

. Metzmacher,  . 

33 

MADONNA  DELLA  SEGGIOLA,  . 

. 

P.  Pelee, 

39 

VIERGE  AUX  PALMIERS, 

. 

. Ach.  Martinet, 

43 

VIERGE  A L’OISEAU,  .... 

• 

Raphael  Morghen, 

5» 

LA  PERLE, 

. Narcisse  Lecomte,  . 

57 

MADONNA  DI  FOLIGNO,  . 

• 

I.  M.  St.  Eve, 

63 

VIERGE  AUX  CANDELABRES, 

. 

. Gus.  Levy, 

71 

LA  BELLE  JARDINIERE, 

. 

Gus.  Levy,  . 

79 

VIERGE  A LA  REDEMPTION, 

. 

. Ach.  Martinet, 

00 

LA  BENEDICTION,  .... 

• 

Richamme  and  Dieu,  . 

91 

MADONNA  DI  SAN  SISTO,  . 

. Muller,  . 

97 

PREFACE. 


lHtjCU  the  idea  of  preparing  a photographically  illuttrated  book  of  Raphael’s  Madonnas 
firft  fuggefted  itfelf,  it  was  accompanied  by  the  natural  defire  to  make  the  collection  complete ; 
i.  e.,  to  include  photographs  of  all  the  “ Holy  Families,”  “ Virgins,”  and  “ Madonnas,”  of 
this  great  matter ; that  his  matchlefs  performances  in  this  department  might  be  made  as  familiar 
and  eafily  comprehendible,  as  they  have  been  made  in  others,  through  the  publication  of  the 
“ Book  of  Raphael’s  Cartoons,”  etc.  But  this  end,  defirable  as  it  is,  was  manifeftly 
impoffible,  from  the  circumftance  that  but  a limited  number  of  the  original  pictures  have  ever 
been  reproduced  by  the  engraver ; and  of  thofe  at  any  time  engraved, — amounting  in  all  to 
about  thirty, — feveral  are  fo  rare  as  not  to  be  obtainable  in  this  country,  or  only  very  inferior 
copies  of  them.  In  view  of  thefe  circumftances,  it  was  deemed  wifeft  to  make  a feleCtion  of 
the  choiceft  and  moft  univerfally-efteemed  of  thefe  productions ; with  the  purpofe  of  iffuing, 
at  fome  future  period,  a Second  Series,  if  the  firtt  volume  meet  the  approbation  of  the  public. 

In  feleCting  the  engravings  for  photographing,  care  has  been  exercifed  to  fecure  as  true 
copies  of  the  original  pictures  as  could  be  found ; a confideration  which  will  be  appreciated  by 
thofe  who  are  familiar  with  the  liberty  which  competent  engravers  are  accuftomed  to  exercile, 
and  the  careleflnefs  of  the  incompetent,  in  reproducing  the  work  of  any  artift,  efpecially  one 
of  the  early  matters. 

It  would  be  eafy  to  point  to  engravings  of  Raphael’s  Madonnas,  well  executed  mechanically, 
but  in  which  the  defign  of  the  Painter  has  been  fo  altered  by  the  engraver,  as  to  raife  a 
queftion  in  the  mind  of  the  beholder,  which  of  the  originals  had  been  followed ; the  refult 
being  a fort  of  fancy  fketch  “ founded  on  fad,”  and  occupying,  in  Art,  the  anomalous  pofi- 
tion  of  “ Hiftorical  Novels  ” in  literature. 

The  illuftrative  Iketches  which  accompany  the  photographs  have  been  compiled  from  a 


PREFACE. 


viii 

great  variety  of  fources,  and  it  is  hoped  will  be  found  to  enhance  the  intered  of  the  colle&ion. 
The  authorities  principally  depended  upon,  are  : — 

Quatremere  De  Quincey’s  Life  of  Raphael, 

Vasari’s  Lives  of  the  Painters,  etc., 

Kugler’s  Hand-Book  of  Painting, 

Mrs.  Jameson’s  Legends  of  the  Madonna, 

Mrs.  Jameson’s  Sketches  of  Art, 

though  a great  number  of  other  works  have  been  incidentally  confulted ; while  the  poetical 
literature  of  England  and  America  has  been  gleaned  to  furnilh  appropriate  and  agreeable 
accompaniments  to  the  defcriptive  fketches. 

That  the  volume,  notwithdanding  its  faults  of  execution,  will  not  prove  wholly  unaccepta- 
ble, we  feel  affured,  from  the  fubjeft  which  it  drives  to  illudrate ; “ a fubjeft,”  in  the  words 
of  a modern  authorefs,  bed  qualified  to  difcourfe  thereon,  “ fo  confecrated  by  its  antiquity,  fo 
hallowed  by  its  profound  fignificance,  fo  endeared  by  its  aflociations  with  the  fofted  and 
deeped  of  our  human  fympathies,  that  the  mind  has  never  wearied  of  its  repetition,  nor  the 
eye  become  fatiated  with  its  beauty.  Thofe  who  refufe  to  give  it  the  honor  due  to  a religious 
reprefentation,  yet  regard  it  with  a tender,  half-willing  homage ; and  when  the  glorified  type 
of  what  is  pured,  lofticd,  holied  in  womanhood,  dands  before  us,  arrayed  in  all  the  majedj. 
and  beauty  that  accomplilhed  Art,  infpired  by  faith  and  love,  could  lend  her,  and  bearing  hei 
divine  Son,  rather  enthroned  than  fudained  on  her  maternal  bofom,  ‘we  look,  and  the  heart  is 
in  heaven !’ — and  it  is  difficult,  very  difficult,  to  refrain  from  an  Ora  pro  Nobis.” 

With  thcfe  words  of  explanation,  we  commend  the  volume,  which  has  afforded  us  many 
hours  of  delightful,  if  laborious  occupation,  in  the  preparation,  to  the  cultivated  and  the 
tadeful. 

J.  P.  W. 


Boston,  July,  1859. 


Hapljacl. 


Washington  Allston. 

Y Heaven  imprefled  with  genius’  feal, 

An  eye  to  fee,  and  heart  to  feel, 

His  foul  through  boundlefs  nature  roved, 
And  feeing  felt,  and  feeling  loved. 

But  weak  the  power  of  mind  at  will 
To  give  the  hand  the  painter’s  ikill ; 

For  mortal  works,  maturing  flow, 

From  patient  care  and  labor  flow : 

And,  hence  reftrained,  his  youthful  hand 
Obeyed  a mafter’s  dull  command ; 

But  foon  with  health  his  flckly  ftyle 
From  Leonardo  learned  to  fmile ; 

And  now  from  Buonarotti  caught 
A nobler  form ; and  now  it  fought 


2 


io 


RAPHAEL. 


Of  color  fair  the  magic  fpell, 

And  traced  her  to  the  Friar’s  * cell. 

No  foolifh  pride,  no  narrow  rule, 
Enflaved  his  foul ; from  every  fchool, 
Whatever  fair,  whatever  grand, 

His  pencil  like  a potent  wand, 
Transfuiing,  bade  his  canvas  grace. 
Progreffive  thus,  with  giant  pace, 

And  energy  no  toil  could  tame, 

He  climbed  the  rugged  mount  of  Fame  : 
And  foon  had  reached  the  fummit  bold, 
When  Death,  who  there  delights  to  hold 
His  fatal  watch,  with  envious  blow 
Quick  hurled  him  to  the  fhades  below. 


* Fra  Bartolomeo. 


(Datlinc  of  Hapljacfs  Cifc  anil  (Banins. 


“ In  Raphael’s  hands,  art  performs  its  higheft,  and,  indeed,  its  only  legitimate  fun&ion,  it 
makes  us  better  men.” — Hillard. 


ITH  no  intention  of  preparing  an  elaborate  Bio- 
graphical Sketch  of  the  diftinguifhed  matter, 
whofe  wonderful  compofitions  form  the  fubjedt 
of  this  volume,  it  is  fitting  that  the  following 
/ketches  and  feledtions  fhould  be  preceded  by  a brief 
narrative  of  the  principal  events  of  that  fhort  but  bril- 
liant career;  and  fuch  tributes  to  his  furpafiing  genius 
from  thofe  qualified  to  pronounce  them,  as  may  ferve 
to  illuftrate  and  enforce  his  claim  to  precedence  among 
the  throng,  whofe  productions  crowd  the  galleries  of 
the  paft,  conftituting  at  once  their  patent  of  nobility, 
and  their  crown  of  immortality. 

Raphael  de  Sanzio  (or  Raffaello,  as  Vafari  and  the 


12  OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 

modern  Italians  write  it)  was  born  in  the  fmall  town 
of  Urbino,  in  the  Papal  States,  on  Good  Friday,  March 
24th,  1483.  He  received  his  firft  inftru&ion  in  art 
from  his  father,  Giovanni  Santi,  a painter  of  little 
reputation ; and,  in  1494,  was  placed  under  the  tuition 
of  Pietro  Perugino,  a matter  not  unworthy  his  illus- 
trious pupil.  Here  he  remained  for  three  years,  when 
Perugino,  being  fummoned  by  buttnefs  to  Florence, 
Raphael  ettayed  trials  of  his  powers,  and  made  feveral 
excurttons  in  the  environs  of  Perugia. 

In  1504,  he  removed  to  Florence,  where  he  re- 
mained, with  the  exception  of  occattonal  vittts  to  Peru- 
gia and  Bologna,  till  1508.  In  that  year  he  was  called 
to  Rome  by  Pope  Julius  II.,  to  attift  in  the  adornment 
of  the  Vatican,  a labor  which  occupied  him,  with  nu- 
merous intermittions,  feveral  years.  His  houfe,  built  by 
himfelf,  near  the  Piazza  Vaticano,  is  ftill  pointed  out 
to  vitttors  in  the  “Eternal  City.”  Between  1512  and 
1520,  the  majority  of  his  matchlefs  Madonnas,  Holy 
Families,  Portraits,  etc.,  were  executed : the  Cartoons 
at  Hampton  Court  were  executed  1515-16;  the  fres- 
coes of  the  Farnettna,  1518.  Bettdes  his  labors  in  this 
department,  he  was  employed,  from  1515,  in  building 
the  new  Bafilica  of  St.  Peter,  having  that  year  been 
appointed  by  the  Pope  architect  of  that  ttrudture. 


OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS.  13 


His  death,  which  was  fudden  as  it  was  untimely,  is 
faid  to  have  been  caufed  by  a fever,  induced  by  a fevere 
cold,  contracted  during  a converfation  with  the  Pope 
about  the  progrefs  of  St.  Peter’s ; which  took  place  in 
one  of  the  vaft  halls  of  the  palace,  whither  Raphael, 
on  receiving  a fummons,  had  proceeded  in  fuch  hafte 
as  to  arrive  in  a profufe  perfpiration. 

He  expired  on  Good  Friday,  April  6th,  1520,  at 
the  age  of  37. 

After  laying  in  ftate,  at  his  own  houfe,  in  the  apart- 
ment where  hung  his  laft  work,  the  Transfiguration,  his 
remains  were  conveyed,  amidft  the  lamentations  of  the 
whole  city,  to  the  ancient  Pantheon — the  Church  of 
Santa  Maria  de  la  Rotunda,  and  depofited,  in  accord- 
ance with  his  laft  requeft,  at  the  foot  of  the  chapel  he 
had  endowed,  where  his  fepulchre  now  is. 

For  more  than  a century  the  Academy  of  St.  Luke, 
at  Rome,  exhibited,  in  a glafs  cafe,  a fkull,  which  it 
was  pretended  was  that  of  Raphael ; and  the  author  of 
u Rome  in  the  Nineteenth  Century,”  alludes,  in  terms 
of  becoming  difguft,  to  the  exhibition.  In  1833,  to 
filence  the  queries  which  had  arifen  upon  the  fubjecft, 
the  tomb  of  Raphael  was  opened  with  great  care,  and 
in  the  prefence  of  many  of  the  higheft  dignitaries  of  the 
Church  and  State ; and,  after  its  repofe  of  more  than 


14  OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 

three  centuries,  the  fkeleton  of  the  great  matter  was 
found  entire.  A mould  was  taken  of  the  fkull ; and 
the  fecond  inhumation  took  place  on  the  evening  of  the 
1 8 th  of  October,  with  great  pomp,  the  interior  of  the 
Rotunda  being  funereally  illuminated  on  the  occafion. 

All  his  biographers  unite  in  afcribing  to  Raphael 
great  beauty  of  perfon,  and  yet  greater  beauty  of  char- 
after.  Of  agreeable  manners,  modeft,  thoughtful  of 
others,  obliging,  he  difarmed  the  jealoufy  which  his  ex- 
traordinary and  verfatile  genius  and  rapid  advancement 
were  calculated  to  infpire.  Indeed,  Vafari  attures  us, 
“ that  he  was  never  feen  to  go  to  Court  but  furrounded 
and  accompanied,  as  he  left  his  houfe,  by  fome  fifty 
painters,  all  men  of  ability  and  diftinftion,  who  at- 
tended him  thus  to  give  evidence  of  the  honor  in  which 
they  held  him.” 

His  mental  acquirements  were  confiderable  and 
refpeftable.  That  he  did  not  lack  for  timely  and 
fatirical  wit,  and  boldnefs  withal,  the  following  anec- 
dote will  indicate  : — 

It  is  faid  that  while  engaged  in  painting  his  cele- 
brated frefcoes,  he  was  vifited  by  two  cardinals,  who 
began  to  criticife  his  work,  and  found  fault  without 
underftanding  it. 

“ The  apoftle  Paul  has  too  red  a face,”  faid  one. 


OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS.  15 


“ He  blufhes  even  in  heaven  to  fee  what  hands 
the  Church  has  fallen  into,”  replied  the  indignant 
painter. 

It  is  little  to  fa y,  coldly,  that  for  invention,  com- 
pofition,  exprefiion,  and  grace,  Raphael  far  excelled  all 
his  predecelfors  and  contemporaries ; while  the  univer- 
fal  teifimony  of  thofe  familiar  with  his  paintings,  is, 
that  they  are  pervaded  by  a namelefs  charm,  perceptible 
by  all  perfons  of  tafte,  and  diftinguifhing  them  from  all 
other  works  of  art,  but  rather  to  be  felt,  than  analyzed 
and  defcribed  in  fet  terms. 

Richardfon,  in  his  ElTays,  as  quoted  by  Hazlitt, 
after  a rapid  furvey  of  the  peculiar  excellences  of  the 
moft  celebrated  artifts,  concludes  thus: — “But  ah  ! the 
pleafure,  when  a connoifieur  and  lover  of  art  has  be- 
fore him  a picture  or  drawing,  of  which  he  can  fay, 
this  is  the  hand,  thefe  are  the  thoughts  of  him  (Ra- 
phael) who  was  one  of  the  politefl,  befl-natured  gen- 
tlemen that  ever  was  j beloved  and  aflifled  by  the 
greatefl  wits  and  the  greatelf  men  then  in  Rome : of 
him  who  lived  in  great  fame,  honor,  and  magnificence, 
and  died  extremely  lamented ; mified  a cardinal’s  hat 
only  by  dying  a few  months  too  foon ; but  was  par- 
ticularly efteemed  and  favored  by  two  Popes,  the  only 
ones  who  filled  the  chair  of  St.  Peter  in  his  time,  and 


l6  OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 

as  great  men  as  ever  fat  there  fince  that  apoftle,  if,  at 
leaft,  he  ever  did ; one,  in  fhort,  who  could  have  been 
a Leonardo,  a Michael  Angelo,  a Titian,  a Correggio, 
a Parruegiano,  an  Annibal,  a Rubens,  or  any  other 
whom  he  pleafed,  but  none  of  them  could  ever  have 
been  a Raphael.” 

He  is  allowed,  writes  Pilkinton,  “ to  have  diffufed 
throughout  all  his  works,  more  grace,  truth,  and  fublim- 
ity  than  any  other  painter,  who  has  appeared  before  or 
fince.” 

“ It  was  one  of  the  remarkable  properties  of  Ra- 
phael’s genius,”  fays  De  Ouincey,  “ that  in  the  execu- 
tion of  his  works  he  always  expreffed,  in  a prominent 
manner,  the  greateft  and  moll  elevated  feature  of  his 
fubjedt,  without,  in  any  degree,  fcorning  the  minuteft 
details.  Lanzi  has  obferved,  on  this  point,  that  the 
finifh  he  has  given  to  his  heads  is  fuch,  that  you  can 
almofi:  count  every  particular  hair.” 

“ Michael  Angelo,”  remarks  Hazlitt,  (“  Criticifms 
on  Art,”)  “ was  painter,  fculptor,  architect.  Raphael 
was  only  a painter,  but  in  that  one  art  he  feemed  to 
pour  out  all  the  treafures  and  various  excellences  of  na- 
ture, grandeur  and  fcope  of  defign,  exquifite  finifhing, 
force,  grace,  delicacy,  the  {Length  of  man,  the  foftnefs 
of  woman,  the  playfulnefs  of  infancy,  thought,  feeling, 


OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS.  17 


invention,  imitation,  labor,  eafe,  and  every  quality  that 
can  difiinguifii  a pi&ure,  except  color.” 

The  grace  and  naturalnefs  of  the  pictures  of  this 
mailer  are  everywhere  borne  witnefs  to. 

“ All  great  actions  are  Ample,”  fays  Emerfon, 
“and  all  great  pictures  are.  The  Transfiguration/'  by 
Raphael,  is  an  eminent  example  of  this  peculiar  merit. 
A calm,  benignant  beauty  fhines  all  over  this  picture, 
and  goes  direCtly  to  the  heart.  It  feems  almoft  to  call 
you  by  name.  The  fweet  and  fublime  face  of  Jefus  is 
beyond  praife,  yet  how  it  difappoints  all  florid  expecta- 
tion. This  familiar,  Ample,  home-fpeaking  counte- 
nance is  as  if  one  fhould  meet  a friend.” 

It  would  be  eafy  to  heap  up  teflimony  of  a fimilar 
character,  to  any  extent,  but  the  talk  is  unneceflary. 
Mrs.  Bray,  the  accomplifhed  biographer  of  Stothard, 
the  artift — well  known  by  his  numerous  drawings, 
efpecially  the  inimitable  “Pilgrimage  to  Canterbury,” 
and  “ Flitch  of  Bacon,”  fays  of  her  fubjeCt : — “There 
can  be  no  doubt  that  Stothard’s  youthful  ftudy  of  Ra- 


* This  wonderful  pifture  has  been  reproduced  in  Rome,  in  mofaics,  at  a coft  of  12,000 
crowns,  and  the  labor  of  nine  years ; ten  men  working  at  it.  The  fmalts,  of  which  thefe 
mofaic  pictures  are  formed,  are  a fpecies  of  opaque  vitrified  glafs,  partaking  of  the  mixed 
nature  of  (lone  and  glafs.  Of  thefe,  no  lefs  than  feventeen  hundred  different  fhades  are  in 
ufe  ; they  are  manufaftured  in  Rome,  in  the  form  of  long  (lender  rods,  like  wires,  of  different 
degrees  of  thicknefs. 

3 


l8  OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 

phael  helped,  not  merely  to  form  his  tafte,  but  to  de- 
velope  his  own  remarkable  powers,  and  to  make  him 
what  he  was.  He  had  imbibed  that  grace  and  myflery 
of  painting  which  is  fo  tranfcendently  beautiful  in  the 
pi&ures  of  the  Italian  matters.  The  Holy  Families  of 
the  Englifh  painters  are  human  beings ; with  the  Ital- 
ians they  are  only  human  forms,  having,  however,  in- 
fufed  into  them  fomething  of  a fuperhuman  fpirit.” 

It  is  known,  fays  De  Quincey,  that  Raphael  had  a 
fpecial  devotion  for  the  Virgin ; this  is  attefted,  in  a 
meafure,  by  his  founding,  in  her  honor,  a chapel  in  the 
church  of  Santa  Maria  della  Rotunda,  where,  as  we 
have  fhown,  his  afhes  now  repofe.  But  nothing,  con- 
tinues De  Ouincey,  fo  clearly  manifefts  in  him  the 
various  feelings  of  a piety,  fometimes  fimple  and  affec- 
tionate, fometimes  full  of  grandeur  and  elevation,  than 
that  diverfity  of  afpe&s  under  which  his  pencil,  always 
noble,  though  the  fubjedt  of  the  compofition  be  fimple, 
always  amiable  and  graceful  though  it  be  fublime,  has 
delighted  in  fetting  forth,  according  to  the  tattes  or 
destination  for  which  they  were  intended,  the  image  of 
the  Virgin — here,  as  the  model!  inhabitant  of  Bethle- 
hem— there,  as  the  queen  of  the  angels. 

“ His  Madonnas,”  remarks  Vafari,  “ difplay  all 
that  the  highefl  idea  of  beauty  could  imagine  in  the 


OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS.  19 


reprefentation  of  a youthful  virgin : modefly  in  her 
eyes,  on  her  forehead  honor,  in  the  line  of  the  nofe 
grace,  in  the  mouth  virtue.” 

Hillard,  in  his  criticifm  upon  the  pictures  in  the 
Tribune,  at  Florence,  bears  witnefs  to  Raphael’s  match- 
lefs  fkill  in  imprefling  upon  his  productions  that  unde- 
finable  grace  and  majefty  which  diftinguifh  his  works 
from  all  others.  “ Maternal  love,  purity  of  feeling, 
fweetnefs,  refinement,  and  a certain  foft  ideal  happinefs 
breathe  from  his  canvas  like  odor  from  a flower.  No 
painter  addrefles  fo  wide  a circle  of  lympathies  as  he ; 
no  one  fpeaks  a language  fo  intelligible  to  the  common 
apprehenfion.” 

The  fecret  of  this  wonderful  fuccefs,  fo  far  at  leaf! 
as  the  fecrets  of  genius  can  be  penetrated,  would  feem 
to  be,  that  Raphael  never  copied,  but  painted  always, 
as  indeed  he  has  himfelf  declared,  from  an  idea  in  his 
own  mind : while  the  Madonnas  of  moft  other  artifls 
were  portraits.  Andrea  del  Sarto,  Rubens,  and  Albano, 
painted  their  wives ; Allori  and  Vandyck  their  mis- 
trefles ; Domenichino  his  daughter. 

On  this  point,  Kugler  obferves : “ Like  all  other 
artifts,  Raphael  is  always  greatefl:  when,  undifturbed  by 
foreign  influence,  he  follows  the  free  and  original  im- 
pulfe  of  his  own  mind.  His  peculiar  element  was 


20  OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 

grace  and  beauty  of  form,  in  as  far  as  thefe  are  the  ex- 
prefiion  of  high  moral  purity.  Hence,  notwithstanding 
the  grand  works  in  which  he  was  employed  by  the 
Popes,  his  peculiar  powers  are  mod:  fully  developed  in 
the  Madonnas  and  Holy  Families,  of  which  he  has  left 
fo  great  a number.  In  his  youth,  he  feems  to  have 
been  fondeft  of  this  clafs  of  fubjeCts.  They  are  con- 
ceived with  a graceful  freedom,  fo  delicately  controlled, 
that  it  appears  always  guided  by  the  fined:  feeling  for 
the  laws  of  art.  They  place  before  us  thofe  deared 
relations  of  life  which  form  the  foundation  of  morality, 
the  clofed  ties  of  family  love ; yet  they  feem  to  breathe 
a feeling  dill  higher  and  holier.  Mary  is  not  only  the 
affectionate  mother ; fhe  appears,  at  the  fame  time, 
with  an  expreffion  of  almod  virgin  timidity,  and  yet  as 
the  bleded  one  of  whom  the  Lord  was  born.  The  in- 
fant Chrid  is  not  only  the  cheerful,  innocent  child,  but 
a prophetic  ferioufnefs  reds  on  his  features  which  tells 
of  his  future  dediny. 

In  any  comparative  edimate  of  Raphael’s  powers  or 
performances,  the  fhortnefs  of  his  life  mud  not  be  over- 
looked. It  is  fomewhat  remarkable  that  of  feventy- 
feven  artids  of  renown,  from  Cimabue,  born  in  1240, 
to  Turner,  who  died  in  1852,  all  but  two — Paul  Potter, 
who  died  at  the  age  of  27,  and  Giorgione,  who  lived 


OUTLINE  OF  RAPHAEL’S  LIFE  AND  GENIUS. 


21 


but  34.  years — exceed  Raphael  in  the  length  of  their 
feveral  careers.  The  average  life  of  the  feventy-feven 
was  68  years,  8 months. 

The  eminent  hiftorical  painter,  Opie,  concludes  a 
le&ure  at  the  Royal  Inflitution  thus : — “ The  hiftory 
of  no  man’s  life  affords  a more  encouraging  and  in- 
ftru&ive  example  than  that  of  Raphael.  The  path  by 
which  he  afcended  to  eminence  is  open,  and  the  Reps 
vifible  to  all.  He  began  with  apparently  no  very  un- 
common fund  of  ability,  but,  fenfible  of  his  deficien- 
cies, he  loft  no  opportunity  of  repairing  them.  He 
ftudied  all  the  artifts  of  his  own  and  former  times,  and 
penetrated  all  their  myfteries,  maftered  their  peculiari- 
ties, and  grafted  all  their  excellencies  on  his  own  flock.” 


$mnu  to  tljc  btrgtti. 

Edgar  A.  Poe. 

T morn,  at  noon,  at  twilight  dim, 
Maria,  thou  haft  heard  my  hymn : 

In  joy  and  woe,  in  good  and  ill, 
Mother  of  God,  be  with  me  ftill ! 
When  the  hours  flew  brightly  by, 

And  not  a cloud  obfcured  the  Iky, 

My  foul,  left  it  fhould  truant  be, 

Thy  grace  did  guide  to  thine  and  thee. 
Now,  when  ftorms  of  fate  o’ercaft 
Darkly  my  prefent  and  my  paft, 

Let  my  future  radiance  fhine 
With  fweet  hopes  of  thee  and  thine. 


ftierge  ail  Cforceau. 


'HIS  charming  conception  was  prefented  by  Ra- 
phael to  Adrian  Gouffier,  Cardinal  de  Boifly, 
whom  Leo  X.  fent  legate  into  France.  It  is 
painted  on  copper ; is  one  foot  three  inches 
high,  and  eleven  and  one-half  inches  wide.  After 
being  preferved  for  a feries  of  years  in  the  family  of 
the  recipient,  it  came  into  the  cabinet  of  the  Duke  de 
Rouanez,  and  was  purchafed  by  Louis  XIV.  of  the 
Abbe  de  Brienne  j and  it  now  beautifies  the  walls  of 
the  Louvre.  On  the  right,  the  infant  Jefus,  Banding, 
leaning  on  the  Virgin,  his  feet  refting  on  his  cradle, 
takes  in  his  hands  the  head  of  the  young  Saint  John, 
whom  Saint  Elizabeth,  kneeling,  is  prefenting  to  him. 
Behind  the  figures  are  trees  and  part  of  a wall  in  ruins. 
On  the  right  and  left,  a beautiful  landfcape. 


24 


VIERGE  AU  BERCEAU. 


De  guincey  remarks  of  this  pi&ure,  that  in  it 
“ there  is  great  vigor  of  tone  and  mod  careful  han- 
dling. The  genius  of  Raphael  fhines  forth  from  every 
figure.  The  infant  Jefus  is  imbued  with  a grace  and 
beauty  truly  divine.  The  landfcape  is  fmiling  and 
brilliant.” 


Jnuocatton  to  lljc  Virgin. 

Chaucer. 

MODERNIZED  BY  WORDSWORTH. 


MOTHER  Maid  ! O Maid  and  Mother  free  ! 

O bufh  unburnt,  burning  in  Mofes’  fight ! 

That  down  didft  ravifh  from  the  Deity, 

Through  humblenefs,  the  Spirit  that  did  alight 
Upon  thy  heart,  whence,  through  that  glory’s 
might, 

Conceived  was  the  Father’s  fapience, 

Help  me  to  tell  it  in  thy  reverence  ! 

Lady,  thy  goodnefs,  thy  magnificence, 

Thy  virtue,  and  thy  great  humility, 

Surpafs  all  fcience  and  all  utterance ; 

For,  fometimes,  Lady  ! ere  men  pray  to  thee, 
Thou  go’ft  before  in  thy  benignity, 


4 


26 


INVOCATION  TO  THE  VIRGIN. 


The  light  to  us  vouchsafing  of  thy  prayer, 

To  be  our  guide  unto  thy  Son  fo  dear. 

My  knowledge  is  fo  weak,  O blissful  Queen, 
To  tell  abroad  thy  mighty  worthinefs, 

That  I the  weight  of  it  may  not  fuftain, 

But  as  a child  of  twelve  months  old,  or  lefs, 
That  laboreth  his  language  to  exprefs, 

Even  fo  fare  I ; and  therefore,  I thee  pray, 
Guide  thou  my  fong,  which  I of  thee  fhall  fay. 


£a  Jttatomna  Dell  fJcstx. 

(see  frontispiece.) 

*HE  Madonna  of  the  Fifh  was  painted  on  panel, 
between  1513  and  1515,  for  the  church  of  San 
Domenico,  at  Naples,  and  placed  in  that  chapel 
wherein  is  the  crucifix  which  fpoke  to  St. 
Thomas  Aquinas.  By  the  chances  of  events,  the  pic- 
ture was  tranfported  from  Naples  to  Spain,  from  Spain 
to  Paris,  where  it  was  transferred  * from  panel  to  canvas, 

* The  transfer  of  a painting  from  panel  to  canvas  feems  fo  impoffible  an  operation,  and 
the  procefs  is  fo  ingenious  and  interefting,  that  it  may  not  be  amifs  to  record  here  the  deferip- 
tion  of  it,  given  by  the  members  of  the  National  Inftitute,  Paris,  by  whom  it  was  performed 
upon  another  of  Raphael’s  pictures : — 

“ It  was  neceflary,  as  a previous  ftep,  to  render  the  furface  of  the  panel,  on  which  the 
pifture  was  painted,  perfe&ly  plane.  To  this  end,  a gauze  having  been  palled  over  the  painting, 
the  pifture  was  turned  on  its  face.  There  was  then  formed  in  the  fubltance  of  the  wood  a 
number  of  fmall  channels,  at  certain  dillances  from  each  other,  and  extending  from  the  upper 
extremity  of  the  arch,  to  where  the  panel  prefented  a truer  furface.  He  introduced  into  thefe 
channels  fmall  wooden  wedges,  and  afterwards  covered  the  whole  furface  with  wet  cloths, 
which  he  took  care  to  renew  from  time  to  time. 


28 


LA  MADONNA  DELL  PESCE. 


and  again  returned  to  Spain,  where  it  now  repofes  in 
the  Gallery  of  the  Efcurial  in  Madrid.  It  reprefents 
the  Madonna  and  child  upon  a throne ; on  one  fide, 
and  kneeling  on  a ffep  of  the  throne,  is  St.  Jerome, 

“ The  attion  of  thefe  wedges,  expanding  by  the  humidity,  obliged  the  panel  to  reaflume 
its  original  form,  the  two  parts  of  the  crack  before  mentioned  were  brought  together ; and  the 
artift,  having  introduced  a ftrong  glue  to  re-unite  them,  applied  crofs  bars  of  oak,  for  the  purpofe 
of  retaining  the  pifture,  during  its  drying,  in  the  form  which  it  had  taken. 

“The  deficcation  was  performed  very  flowly;  a fecond  gauze  was  applied  over  the  former, 
and  upon  that  two  fucceflive  layers  of  fpongy  paper.  This  preparation,  which  is  called  the 
cartonnage,  being  dry,  the  picture  was  again  inverted  upon  a table,  to  which  it  was  firmly  fixed 
down,  and  they  afterwards  proceeded  to  the  feparation  of  the  wood  on  which  the  pidturc  had 
been  painted. 

“ The  firft  operation  was  performed  by  means  of  two  faws,  the  one  of  which  worked  per- 
pendicularly, and  the  other  horizontally.  The  work  of  the  faws  being  finifhed,  the  wood  was 
found  to  be  reduced  to  one-tenth  of  an  inch  in  thickncfs.  The  artift  afterwards  made  ufe  of 
a plane,  of  a convex  form,  in  the  direftion  of  its  breadth  : this  was  applied  obliquely  upon  the 
wood,  fo  as  to  take  off  very  fmall  (havings,  and  to  avoid  raifing  the  grain  of  the  wood,  which 
was  reduced  by  this  means  to  ‘002  of  an  inch  thick. 

“ He  took  afterwards  a fiat-toothed  plane,  of  which  the  effeft  is  nearly  fimilar  to  that  of  a 
rafp,  which  takes  off  the  wood  in  form  of  a duft  or  powder : it  was  reduced  by  this  tool  to  a 
thicknefs  not  exceeding  that  of  an  ordinary  fhect  of  paper. 

« In  this  ftatc,  the  wood  having  been  repeatedly  wetted  with  fair  water,  in  fmall  compart- 
ments, was  carefully  detached  by  the  artift  with  the  rounded  point  of  a knife  blade.  The 
citizen  Hacquin  having  then  taken  away  the  whole  of  the  priming  on  which  the  pifture  had 
been  painted,  and  efpccially  the  varnifhes,  which  fome  former  reparations  had  made  neceflary, 
laid  open  the  very  (ketch  itlelf  of  RafFacllo. 

« In  order  to  give  fome  degree  of  fupplcnefs  to  the  painting,  fo  much  hardened  by  time,  it 
was  rubbed  with  cotton  dipped  in  oil,  and  wiped  with  old  muflin  ; after  which,  a coating  of 
white  lead,  ground  with  oil,  was  fubftituted  for  the  former  priming,  and  laid  on  with  a foft 
bru(h. 

“ After  three  months  drying,  a gauze  was  pafted  on  to  the  oil-priming,  and  over  that  a fine 
cloth.  This  being  again  dried,  the  pifturc  was  detached  from  the  table,  and  again  turned,  for 
the  purpofe  of  taking  off  the  cartonnage  by  means  of  water ; which  operation  being  finifhed, 
they  proceeded  to  take  away  certain  inequalities  of  the  furfacc,  which  had  arifen  from  its  un- 


LA  MADONNA  DELL  PESCE. 


29 


reading  from  a book.  On  the  other  fide,  the  young 
Tobit  (Tobias),  bearing  a fifh  in  one  hand,  is  prefented 
by  the  guardian  angel  Raphael. 

“ Tobias  with  his  fifh,”  says  Mrs.  Jamefon,  “ was 
an  early  type  of  baptifm.”  “The  angel  Raphael  leading 
Tobias,  always  exprelfes  protection,  and  efpecially  pro- 
tection to  the  young.”  Bonnemaifon,  a learned  com- 
mentator, has  pretended  that  the  objeCt  of  this  picture 
was  to  fignify  the  acknowledged  canonicalnefs  of  the 
Book  of  Tobit,  and  the  verfion  of  it,  made  by  St. 
Jerome  ; the  child  Jefus,  by  the  reception  he  feems  to 
give  to  the  young  Tobit — exprefling  the  approbation 
of  the  book  by  the  Church.  This  is  pronounced  by 


equal  fhrinking  during  the  former  operations.  To  this  end,  the  ardft  applied  fucceflively  to 
thefe  inequalities  a thin  parte  of  wheaten  flour,  over  which  a ftrong  paper  being  laid,  he  parted 
over  it  a heated  iron,  which  produced  the  defired  effedt ; but  it  was  not  until  the  moft  careful 
trial  had  been  made  of  the  due  heat  of  the  iron,  that  it  was  allowed  to  approach  the  pifture. 

“ We  have  thus  feen,  that  having  fixed  the  pidture,  freed  from  every  extraneous  matter, 
upon  an  oil  priming,  and  having  given  a true  form  to  its  furface,  it  yet  remained  to  apply  this 
chef-d’ceuvre  of  art  firmly  upon  a new  ground.  To  this  end,  it  was  neceflary  to  paper  it 
afrefh,  and  to  take  away  the  gauze,  which  had  been  provifionally  laid  upon  the  priming,  to  add 
a new  coat  of  white  lead  and  oil,  and  to  apply  upon  that  a very  foft  gauze,  over  which  was 
again  laid  a cloth,  woven  all  of  one  piece,  and  impregnated  on  the  exterior  furface  with  a 
refinous  mixture,  which  ferved  to  fix  it  upon  a fimilar  cloth  ftretched  upon  the  frame.  This 
laft  operation  required  the  utmoft  care,  in  applying  to  the  prepared  cloth  the  body  of  the  paint- 
ing, freed  again  from  its  cartonnage,  in  avoiding  the  injuries  which  might  arife  from  too  great  *t 

or  unequal  an  extenfion,  and,  at  the  fame  time,  in  obliging  every  part  of  its  vaft  extent  to 
adhere  equally  to  the  cloth  ftretched  upon  the  frame. 

“Thus  was  this  valuable  pidture  incorporated  with  a bafe  more  durable  even  than  its 
former  one,  and  guarded  againft  thofe  accidents  which  had  before  produced  its  decay.” 


3° 


LA  MADONNA  DELL  PESCE. 


De  Quincey,  “ one  of  Raphael’s  mofl  pleating  com- 
potitions — one  of  thofe  which  appear  to  have  been 
moft  completely  the  work  of  his  own  hand.  Its  tone 
is  everywhere  clear.  It  has  all  the  purity,  all  the  tim- 
plicity  of  the  firti  age ; and,  at  the  fame  time,  all  the 
tirmnefs,  all  the  breadth  of  ftyle,  the  fruit  of  mature 
talent.  Nothing  can  be  more  true  than  the  head  of 
Saint  Jerome;  nothing  more  expretiive  than  that  of  the 
angel  Raphael ; nothing  more  timple  than  the  potition, 
or  more  innocent  than  the  countenance  of  the  young 
Tobit ; and  never  did  the  painter  conceive  any  thing 
more  noble  and  more  modeft,  any  thing  grander  and 
more  graceful,  than  the  figure  of  the  Virgin.” 

Wilkie  fays,  “ the  head  and  neck  of  the  angel  may 
may  be  considered  to  realize  the  beau-ideal  of  the  fup- 
pofed  art  of  the  Greeks.” 

Kugler  confiders  the  picture  as  uniting  “ the  Sub- 
lime and  abfiradt  charadfer  of  facred  beings  with  the 
individuality  of  nature  in  the  happieft  manner  ...  all 
the  figures  are  graceful  and  dignified,  and  all  combine 
in  beautiful  harmony,  and  leave  a refined  impreffion  on 
the  feelings  of  the  fpedlator.” 


(!DI),  Virgin  ittotljcr ! 

Translated  from  Dante,  by  Cary. 

H,  Virgin-Mother,  daughter  of  thy  Son  ! 
Created  beings  all  in  lowlinefs 
Surpafling,  as  in  height  above  them  all ; 

Term  by  the  eternal  counfel  preordained ; 
Ennobler  of  thy  nature,  fo  advanced 
In  thee,  that  its  great  Maker  did  not  fcorn 
To  make  himfelf  his  own  creation  ; 

For  in  thy  womb,  rekindling  fhone  the  love 
Revealed,  whofe  genial  influence  makes  now 
This  flower  to  germin  in  eternal  peace : 

Here  thou,  to  us,  of  charity  and  love 
Art  as  the  noonday  torch,  and  art  beneath, 
To  mortal  men,  of  hope  a living  fpring. 

So  mighty  art  thou,  Lady,  and  fo  great, 

That  he  who  grace  deflreth,  and  comes  not 


32 


OH,  VIRGIN  MOTHER! 


To  thee  for  aidance,  fain  would  have  defire 
Fly  without  wings.  Not  only  him  who  afks, 
Thy  bounty  fuccors ; but  doth  freely  oft 
Forerun  the  alking.  Whatfoe’er  may  be 
Of  excellence  in  creature,  pity  mild, 
Relenting  mercy,  large  munificence, 

Are  all  combined  in  thee ! 


£a  lltcrge  an  Ibilc. 


iEVERAL  copies  of  this  pleafing  picture,  or  more 
properly,  repetitions  of  the  fame  idea — the  Sleep- 
ing Saviour,  from  whom  the  Holy  Mother  gently 
removes  the  covering — exift  in  the  galleries  of 
Europe.  The  one  here  reprefented  is  from  the  original 
in  the  Louvre,  and  is  known  alfo,  as  “ La  Vierge  au 
Diademe,”  from  the  diadem  with  which  the  Virgin  is 
crowned.  In  the  eftimation  of  the  editors  of  the  great 
work,  the  “ Mufee  Francais,”  “ this  painting  merits 
peculiar  diflindlion  among  the  many  Raphael  executed 
on  the  fame  fubjedl,  from  the  beautiful  fentiment  it 
expreiTes,  and  by  the  charm  of  the  compohtion.  He 
has  depicted  the  fweet  fenfation  of  a tender  mother 
when  fhe  contemplates  her  child  funk  in  a deep  and 
tranquil  deep.  He  has  placed  the  Virgin  crouched  be- 
lide  her  infant,  in  the  Eaftern  manner,  raifing  foftly 
the  veil  that  covers  him,  that  he  may  be  feen  by  St. 
5 


34 


LA  VIERGE  AU  VOILE. 


John.  The  background  of  the  picture  reprefents  the 
ruins  of  a temple  in  the  neighborhood  of  the  town 
of  Saccheti,  near  St.  Peter.  The  pi&ure  belonged 
formerly  to  M.  de  la  Vrilliere,  and  afterwards  pafled 
into  the  cabinet  of  the  Prince  de  Cavignan,  and  at  his 
death  was  purchafed  by  Louis  XIV.” 

The  original  is  two  feet  two  and  three-fourths 
inches,  by  one  foot  feven  and  one-half  inches,  and, 
according  to  Kugler,  has  been  much  injured,  like  fo 
many  others  at  the  Louvre. 

Mrs.  Jamefon  confiders  the  pidure  replete  with 
grace  and  expreffion. 

Can  we  better  conclude,  than  by  an  extrad  from 
Mrs.  Browning’s  Addrefs  of  the  Virgin  Mary  to  the 
Child  Jefus? — “ Sleep,  deep,  mine  Holy  One” — 


“ Perchance  this  deep  that  fhutteth  out  the  dreary 
Earth  founds  and  motions,  opens  on  thy  foul 
High  dreams  on  fire  with  God  ; 

High  fongs  that  make  the  pathways  where  they  roll 
More  bright  than  liars  do  theirs ; and  vifions  new 
Of  thine  eternal  nature’s  old  abode. 

Suffer  this  mother’s  kifs, 

Bed  thing  that  earthly  is. 

To  glide  the  mufic  and  the  glory  through, 

To  narrow  in  thy  dream  the  broad  upliftings 
Of  any  feraph’s  wing. 

Thus,  noifelefs,  thus ! Sleep,  fleep,  my  dreaming  One.” 


@l)c  lllorsljij)  of  tljc  madonna. 


Mrs.  Jameson. 

F the  pictures  in  our  galleries,  public  or  private — 
of  the  architectural  adornments  of  thofe  majeflic 
edifices  which  fprung  up  in  the  middle  ages 
(where  they  have  not  been  defpoiled  or  defe- 
crated  by  a zeal  as  fervent  as  that  which  reared  them), 
the  largeft  and  mod:  beautiful  portion  have  reference  to 
the  Madonna — her  character,  her  perfon,  her  hiflory. 
It  was  a theme  which  never  tired  her  votaries — 
whether,  as  in  the  hands  of  the  great  and  fincere 
artifts,  it  became  one  of  the  noblefl:  and  lovelieft,  or,  as 
in  the  hands  of  the  fuperficial,  unbelieving,  time- 
ferving  artiffs,  one  of  the  mod  degraded.  * * * It  is 
not  my  intention  to  enter  here  on  that  difputed  point, 
the  origin  of  the  worfhip  of  the  Madonna.  * * * That 


36 


THE  WORSHIP  OF  THE  MADONNA. 


the  veneration  paid  to  Mary  in  the  early  Church  was  a 
very  natural  feeling  in  thofe  who  advocated  the  divinity 
of  her  Son,  would  be  granted,  I fuppofe,  by  all  but 
the  mod  bigoted  reformers ; that  it  led  to  unwife  and 
wild  extremes,  confounding  the  creature  with  the 
Creator,  would  be  admitted,  I fuppofe,  by  all  but  the 
moft  bigoted  Roman  Catholics. 

How  it  extended  from  the  Eaft  over  the  nations  of 
the  Weft,  how  it  grew  and  fpread,  may  be  read  in 
ecclefiaftical  hiftories.  Everywhere  it  feems  to  have 
found  in  the  human  heart  fome  deep  fympathy — 
deeper  far  than  mere  theological  doctrine  could  reach 
— ready  to  accept  it ; and  in  every  land  the  ground 
prepared  for  it  in  fome  already  dominant  idea  of  a 
Mother-Goddefs,  chafte,  beautiful,  and  benign.  * * * 

It  is  curious  to  obferve,  as  the  worfhip  of  the  Virgin- 
Mother  expanded  and  gathered  to  itfelf  the  relics  of 
many  an  ancient  faith,  how  the  new  and  the  old  ele- 
ments, fome  of  them  apparently  the  mod:  heterogene- 
ous, became  amalgamated,  and  were  combined  into  the 
early  forms  of  art ; — how  the  Madonna,  when  fhe 
affumed  the  charadteridics  of  the  great  Diana  of  Ephe- 
fus,  at  once  the  type  of  Fertility,  and  the  Goddefs  of 
Chaftity,  became,  as  the  imperfonation  of  motherhood, 
all  beauty,  bounty,  and  gracioufnefs ; and  at  the  fame 


THE  WORSHIP  OF  THE  MADONNA. 


37 


time,  by  virtue  of  her  perpetual  virginity,  the  patronefs 
of  fingle  and  afcetic  life — the  example  and  the  excufe 
for  many  of  the  wildeft  of  the  early  monkifii  theories. 
* * The  firfi:  hiftorical  mention  of  a diredl  worfhip 
paid  to  the  Virgin  Mary,  occurs  in  a pafiage  in  the 
works  of  St  Epiphanius,  who  died  in  403.  The  very 
firfi:  inftance  which  occurs  in  written  hifirory  of  an  in- 
vocation to  Mary,  is  in  the  life  of  St.  Juflina,  as  related 
by  Gregory  Nazianzen.  To  the  fame  period — the 
fourth  century — we  refer  the  moft  ancient  reprefenta- 
tions  of  the  Virgin  in  art.  The  earlieft  figures  extant 
are  thofe  on  the  Chriftian  farcophagi ; but  neither  in 
the  early  fculpture,  nor  in  the  mofaics  of  S.  Maria 
Maggiore,  do  we  find  any  figure  of  the  Virgin  Handing 
alone ; fhe  forms  a part  of  the  group  of  the  Nativity 
or  the  Adoration  of  the  Magi.  There  is  no  attempt  at 
individuality  or  portraiture.  St.  Augufiine  fays  ex- 
prefily,  that  there  exifted,  in  his  time,  no  authentic 
portrait  of  the  Virgin. 


Cjoln  JFamil}). 

From  the  German  of  Goethe. 


CHILD  of  beauty  rare — 

O mother  chade  and  fair — 

How  happy  feem  they  both,  fo  far 

beyond  compare  ! 


She,  in  her  infant  bled, 

And  he  in  confcious  red:, 

Nedling  within  the  foft  warm  cradle 

of  her  bread: ! 


What  joy  that  dght  might  bear 
To  him  who  fees  them  there, 

If  with  a pure  and  guilt  untroubled  eye, 

He  looked  upon  the  twain,  like  Jofeph 

(landing  by. 


ittaironna  Della  Scggiola. 


>HIS  celebrated  picture — entitled  alfo,  C£La  Vierge 
a la  Chaife  ” — is,  without  exception,  the  befl: 
known  of  Raphael’s  Madonnas,  and  that  from 
which  the  greateft  number  of  copies  have  been 
taken.  It  is,  therefore,  incontelfably  the  favorite  with 
the  public,  if  not  with  artifts  and  amateurs. 

This  has  been  varioufly  accounted  for.  A modern 
writer  on  Art,  remarks  of  the  Virgin-Mother  (whofe 
fitting  pofition,  it  may  be  obferved,  gives  the  pidure  its 
diftindive  appellation),  “ Her  form,  her  features,  an 
indefcribable  fweetnefs  of  expreffion,  the  maternal 
tendernefs  beaming  from  her  foft  hazel  eye,  the  modeft 
and  pious  confcioufnefs  of  being  the  mother  of  a God, 
the  pofition  of  the  child’s  cheek  to  her  own,  expreffive 
at  once  of  both  dignity  and  fondnefs  of  affedion,  the 


40 


MADONNA  DELLA  SEGGIOLA. 


propriety  of  coftume,  the  coloring,  the  finifh — all,  all 
are  divine.” 

The  Editors  of  the  famous  “ Mufee  Francais  ” 
difcourfe  thus : — “ All  thefe  pictures  of  Raphael  are 
conceived  with  judgment,  compofed  with  grace,  drawn 
with  precision,  and  painted  with  the  utmoft  perfection 
of  art.  Whence  comes  it,  then,  that  this,  more  than 
any  other,  poffelTes  an  inconceivable  charm,  but  from 
the  countenance  of  the  Virgin,  whofe  features  are 
more  uniformly  fine,  whofe  eyes  have  greater  vivacity, 
whofe  whole  exprefiion  is  more  ftriking  and  gracious, 
than  diftinguifh  any  other  compofition  on  the  fame 
fubjeCt,  which  are  more  generally  remarked  for  fim- 
plicity  of  character. 

“ The  contouring,  likewife,  exhibits  extraordinary 
purity,  correCtnefs,  and  beauty.  It  is  remarked  that 
the  paint  itfelf  is  fuperior  to  that  employed  by  Raphael 
in  any  other  production.” 

De  Quincey  confiders  this,  in  “ coloring  and  grace 
of  attitude  and  arrangement,  one  of  Raphael’s  moil 
agreeable  productions.  The  manner  in  which  the 
child  and  mother  are  grouped,  and  in  which  the  head 
of  the  latter  is  turned  back,  the  elegance  and  grace  of 
the  enfemble,  have  fingularly  captivated  the  tafie  of 
thofe  who  are  lefs  fenfible  to  the  religious  keeping  of 


MADONNA  DELLA  SEGGIOLA. 


4l 


the  fubjedt,  than  to  the  general  impreflion  of  a graceful 
effedt  upon  the  fenfes.” 

The  accomplished  author  of  the  “ Six  Months  in 
Italy”  regards  it  as  a work  of  great  fweetnefs,  purity, 
and  tendernefs,  but  not  reprefenting  all  the  power  of 
the  artifl’s  genius.  “Its  chief  charm,  and  the  fecret  of 
its  world-wide  popularity,  is  its  happy  blending  of  the 
divine  and  the  human  elements.  Some  painters  treat 
this  fubjedt  in  fuch  a way  that  the  fpedfator  fees  only  a 
mortal  mother  carefling  her  child ; while,  by  others, 
the  only  ideas  awakened  are  thofe  of  the  Virgin  and 
the  Redeemer.  But  heaven  and  earth  meet  on  Ra- 
phael’s canvas : the  purity  of  heaven  and  the  tendernefs 
of  earth.  The  round,  infantile  forms,  the  fond,  clafp- 
ing  arms,  the  fweetnefs  and  the  grace  belong  to  the 
world  that  is  around  us ; but  the  faces — efpecially  that 
of  the  infant  Saviour,  in  whofe  eyes  there  is  a myfterious 
depth  of  expreflion,  which  no  engraving  has  ever  fully 
caught — are  touched  with  light  from  heaven,  and  fug- 
ged fomething  to  worfhip  as  well  as  to  love.” 

Mrs.  Jamefon,  in  her  “ Diary  of  an  Ennuyee,” 
records  of  this  Madonna  : — “ The  prevailing  expreflion 
is  a ferious  and  penfive  tendernefs ; her  eyes  are  turned 
from  her  infant,  but  fhe  clafps  him  to  her  bofom,  as  if 
it  were  not  neceffary  to  fee  him,  to  feel  him  in  her  heart.” 
6 


42 


MADONNA  DELLA  SEGGIOLA. 


And  laftly,  Kugler  defcribes  her  as  “ a beautiful  and 
blooming  woman,  looking  out  of  the  picture  in  the 
tranquil  enjoyment  of  maternal  love ; the  Child  is  full 
and  flrong  in  form,  has  a ferious,  ingenuous  and  grand 
expreflion.  The  coloring  is  uncommonly  warm  and 
beautiful.” 

The  original  is  circular  in  form,  two  feet  four 
inches  in  diameter.  It  was  painted  about  1516,  and 
formed  part  of  the  Florentine  Gallery  from  1539  till  a 
later  period,  when  it  was  transferred  to  the  Pitti  Palace. 

It  has  been  valued  at  150,000  francs. 


Mary ! 


Shelley. 

ERAPH  of  Heaven  ! too  gentle  to  be  human, 
Veiling  beneath  that  radiant  form  of  woman 
All  that  is  infupportable  in  thee 
Of  light,  and  love,  and  immortality ! 

Sweet  benediction  in  the  eternal  curfe ! 

Veiled  Glory  of  this  lamplefs  univerfe  ! 

Thou  Moon  beyond  the  clouds ! Thou  living 
Form 

Among  the  Dead  ! Thou  Star  above  the  ftorm  ! 
Thou  Wonder,  and  thou  Beauty,  and  thou 
Terror! 

Thou  Harmony  of  Nature’s  art ! Thou  Mirror 
In  whom,  as  in  the  fplendor  of  the  Sun, 

All  fhap  es  look  glorious  which  thou  gazeft  on  ! 


44 


MARY! 


See  where  fhe  {lands ! a mortal  fhape  endued 
With  love,  and  life,  and  light,  and  deity ; 

The  motion  which  may  change  but  cannot  die ; 
An  image  of  fome  bright  eternity ; 

A fhadow  of  fome  golden  dream ; a fplendor 
Leaving  the  third  fphere  pilotlefs. 


Co  bicnje  cmx  |)almicrs. 


-N  the  firft  vifit  of  Raphael  to  Florence,  he 
was  welcomed  with  warm  hofpitality  by  Zaddeo 
Taddei,  a great  admirer  of  genius.  Raphael, 
that  he  might  not  be  furpalfed  in  generolity  and 
courtefy,  painted,  probably  between  1506  and  1508, 
two  pictures  for  his  kind  entertainer,  wherein  there  are 
traces  of  his  firft  manner,  derived  from  Pietro,  and  alfo 
of  that  much  better  one  which  he  acquired  by  fludy. 
Thefe  were  both  pi&ures  of  the  Madonna,  and  after  the 
deceafe  of  Zaddeo’s  immediate  heirs,  were  difperfed,  and 
only  traced  within  a few  years.  One  is  in  the  Gallery 
of  the  Belvidere  at  Vienna  j the  other,  reprefenting  the 
entire  Holy  Family  repoling  under  a palm  tree,  is  in 
the  Bridgewater  Gallery,  in  the  poffeflion  of  the  Earl 
of  Ellefmere,  London.  It  was  formerly  in  the  Orleans 
Collection,  having  been  purchafed  for  1,000  pounds. 


46 


LA  VIERGE  AUX  PALMIERS. 


It  is  circular  in  form,  three  feet  nine  inches  in 
diameter ; was  originally  painted  on  panel,  but  fince 
transferred  to  canvas. 

Not  wholly  inappropriate,  in  this  conne&ion,  are 
Mrs.  Hemans’  fine  lines  on  the  “ Repofe  of  the  Holy 
Family,  during  the  Flight  into  Egypt — 

“ Under  a palm  tree,  by  the  green  old  Nile, 

Lulled  on  his  mother’s  breaft,  the  fair  child  lies, 

With  dove-like  breathings,  and  a tender  fmile 
Brooding  above  the  dumber  of  His  eyes ; 

While,  through  the  ftillnefs  of  the  burning  Ikies, 

Lo  ! the  dread  works  of  Egypt’s  buried  kings, 

Temple  and  pyramid,  beyond  Him  rife, 

Regal  and  ftill  as  everlafting  things. 

Vain  pomps  ! from  Him,  with  that  pure  flowery  cheek, 

Soft  fhadowed  by  His  mother’s  drooping  head, 

A new  born  fpirit,  mighty  and  yet  meek. 

O’er  the  whole  world  like  vernal  air  fliall  fpread. 

And  bid  all  earthly  grandeurs  call  the  crown, 

Before  the  differing  and  the  lowly  down.” 


Hapljacl  ani>  iFornarhia. 


By  L.  E.  Landon. 


[Raphael  was  eflentially  the  painter  of  beauty.  Of  the  devotion  with  which  he  fought 
its  infpiration,  in  its  prefence,  a remarkable  inftanee  is  recorded.  He  either  could  not,  or 
would  not,  paint  without  the  p*efence  of  his  lovely  miftrefs.  La  Fornarina.] 


H!  not  for  him  the  dull  and  meafured  eye, 
Which  colors  nothing  in  the  common  Iky, 
Which  fees  but  night  upon  the  ftarry  cope, 

And  animates  with  no  myflerious  hope. 

Which  looks  upon  a quiet  face,  nor  dreams 
If  it  be  ever  tranquil  as  it  feems ; 

Which  reads  no  hiftories  in  a parting  look, 

Nor  on  the  cheek,  which  is  the  heart’s  own  book, 
Whereon  it  writes  in  rofy  characters 
Whate’er  emotion  in  its  lilence  flirs. 


48 


RAPHAEL  AND  FORNARINA. 


Such  are  the  common  people  of  the  foul, 

Of  whom  the  Aars  write  not  in  their  bright  fcroll. 
Thefe,  when  the  funfhine  on  the  noontide  makes 
Golden  confufion  in  the  forefi  brakes, 

See  no  fweet  fhadows  gliding  o’er  the  grafs, 

Which  feem  to  fill  with  wild  flowers  as  they  pafs ; 
Thefe,  from  the  twilight  mufic  of  the  fount 
Afk  not  its  fecret  and  its  fweet  account; 

Thefe  never  feek  to  read  the  chronicle 
Which  hides  within  the  hyacinth’s  dimlit  bell : 
They  know  not  of  the  poetry  which  lies 
Upon  the  fummer  rofe’s  languid  eyes ; 

They  have  not  fpiritual  vifitings  elyfian, 

They  dream  no  dreamings,  and  they  fee  no  vifion. 

The  young  Italian  was  not  of  the  clay, 

That  doth  to  dufi  one  long  allegiance  pay. 

No ; he  was  tempered  with  that  finer  flame, 
Which  ancient  fables  fay  from  heaven  came ; 

The  funfhine  of  the  foul,  which  fills  the  earth 
With  beauty  borrowed  from  its  place  of  birth. 
Hence  has  his  lute  its  fong,  the  fcroll  its  line ; 
Hence  ftands  the  fiatue  glorious  in  its  fhrine ; 
Hence  the  fair  pidture,  kings  are  fain  to  win, 

The  mind’s  creations  from  the  world  within. 

* * -X-  -X-  * * 


RAPHAEL  AND  FORNARINA. 


49 


Not  without  me  ! — alone,  thy  hand 
Forgot  its  art  awhile ; 

Thy  pencil  loft  its  high  command, 
Uncherifhed  by  my  fmile. 

It  was  too  dull  a talk  for  thee 
To  paint  remembered  rays ; 

Thou,  who  were  wont  to  gaze  on  me, 
And  color  from  that  gaze. 

I know  that  I am  very  fair, 

I would  I were  divine, 

To  realize  the  fhapes  that  fhare 
Thofe  midnight  hours  of  thine. 

Thou  fometimes  telleft  me,  how  in  deep 
What  lovely  phantoms  feem ; 

I hear  thee  name  them,  and  I weep 
Too  jealous  of  a dream. 

But  thou  did’ft  pine  for  me,  my  love, 
Afide  thy  colors  thrown ; 

’Twas  fad  to  raife  thine  eyes  above, 
Unanfwered  by  mine  own ; 

Thou  who  art  wont  to  lift  thofe  eyes, 
And  gather  from  my  face 

The  warmth  of  life’s  impaffioned  dyes, 
Its  color  and  its  grace. 


7 


5° 


RAPHAEL  AND  FORNARINA. 


Ah  ! let  me  linger  at  thy  fide, 

And  ling  Tome  Tweet  old  Tong, 
That  tells  of  hearts  as  true  and  tried, 
As  to  ourfelves  belong. 

The  love  whofe  light  thy  colors  give, 
Is  kindled  at  the  heart ; 

And  who  fhall  bid  its  influence  live, 
My  Raphael,  if  we  part  ? 


£a  biergc  a r©iscau. 


KNOWN  ALSO  AS  THE 


MADONNA  DEL  CARDELLINO. 


HILE  Raphael  was  in  Florence,  for  the  firft  time, 
he  formed  a clofe  friendfhip  with  Lorenzo  Nafi, 
and  the  latter  having  taken  a wife  at  that  time, 
Raphael,  fays  Vafari,  painted  a picture  for  him, 
wherein  he  reprefented  Our  Lady  with  the  Infant  Chrift, 
to  whom  St.  John,  alfo  a child,  is  joyoully  offering  a 
bird,  which  is  caufing  infinite  delight  and  gladnefs  to 
both  children.  In  the  attitude  of  each  there  is  a child- 
like fimplicity  of  the  utmofl  lovelinefs ; they  are,  be- 
fides,  fo  admirably  colored,  and  finifhed  with  fo  much 
care,  that  they  feem  more  like  living  beings  than  paint- 
ings. Equally  good  is  the  figure  of  the  Madonna : it 
has  an  air  of  fingular  grace  and  even  divinity,  while  all 


S2 


LA  VIERGE  A L’OISEAU. 


the  reft  of  the  work — the  foreground,  the  furrounding 
landfcape,  and  every  other  particular,  are  extremely 
beautiful.  This  picture  was  held  in  the  higheft  eftima- 
tion  by  Lorenzo  Naft  fo  long  as  he  lived,  not  only  be- 
caufe  it  was  a memorial  of  Raphael,  who  had  been  fo 
much  his  friend,  but  on  account  of  the  dignity  and 
excellence  of  the  whole  compofttion ; but  on  the  9th 
of  Auguft,  154.8,  the  work  was  nearly  deftroyed  by  the 
linking  down  of  the  hill  of  San  Giorgio,  when  the 
manfton  of  Lorenzo  was  overwhelmed  by  the  fallen 
mafles.  The  fragments  of  the  picture  were  found 
among  the  ruins  of  the  houfe,  and  put  together  in  the 
beft  manner  that  he  could  contrive  by  Batifta,  a fon  of 
Lorenzo,  who  was  a great  lover  of  art ! The  picture 
now  adorns  the  Tribune  of  the  Florentine  Gallery, 
though  this  has  been  regarded  by  fome  as  a duplicate,  or 
perhaps  a copy,  of  the  original  work  prefented  to  Naft. 

Hillard,  in  that  charming  record  of  his  “ Six 
Months  in  Italy,”  alluding  to  this  picture  in  connection 
with  a “ St.  John  in  the  Defert,”  alfo  by  Raphael — 
remarks,  “ Thefe  two  pictures  are  not  penetrated  with 
that  maturity  and  vigor  which  Raphael’s  genius  fubfe- 
quently  attained,  but  they  are  full  of  thofe  winning 
and  engaging  qualities  which  belonged  to  it  in  every 
ftage  of  its  development.” 


LA  VIERGE  A L’OISEAU. 


53 


Mrs.  Jamefon  regards  this  work  as  perhaps  the  moil 
perfect  example  of  the  clafs  of  Madonnas  to  which  it 
belongs — the  group  of  three — which  could  be  cited 
from  the  whole  range  of  art : and  Kugler  fays,  “ The 
form  and  countenance  of  the  Madonna  are  of  the 
pureft  beauty ; her  whole  foul  feems  to  breathe  holinefs 
and  peace.  John  alfo  is  extremely  fweet ; but  the 
figure  of  the  infant  Chrifi:  does  not  fulfil  the  artifl’s 
intention,  which  appears  to  have  been  to  reprefent  the 
ferioufnefs  and  dignity  of  a Divine  being  in  a childlike 
form.” 


Enppi’s  Sonnet 

ON  THE  PORTRAIT  OF  RAPHAEL  BY  HIMSELF. 

TRANSLATED  FROM  THE  ITALIAN,  BY 

Geo.  W.  Bethune. 


ND  this  is  Raffaelle  ! There  in  that  one  face, 
So  fadly  fweet,  fought  nature  to  portray 
His  own  high  dreams  of  noblenefs  and  grace, 
Hq  The  all  of  genius  that  fhe  could  convey 
In  features  vihble.  He  alone  could  trace 
The  great  Idea ; nor  could  he  effay 
Up  on  the  eternal  canvas  thus  to  place, 

Secure  in  beauty  far  beyond  decay, 

Another  form  fo  glorious  as  his  own. 

E’en  eager  Death  held  in  fufpenfe  his  dart : 

“ How  fhall  the  painter  from  his  work  be  known  ? : 
He  afks,  “ that  I may  ftrike  him  to  the  heart  ? ” 
“ Fruitlefs  thy  rage,”  the  great  foul  gives  reply, 

“ Nor  image,  nor  its  author,  e’er  fhall  die  ! ” 


Hapljacl’s  (drains. 

From  “Guesses  at  Truth.” 

ILTON  has  been  compared  to  Raphael.  He  is 
much  more  like  Michael  Angelo.  Michael 
Angelo  is  the  painter  of  the  Old  Teftament, 
Raphael  of  the  New.  Now  Milton,  as  Words- 
worth has  faid  of  him,  was  a Hebrew  in  foul.  He 
was  grand,  fevere,  auftere.  He  loved  to  deal  with 
the  primeval,  elementary  forms,  both  of  inanimate 
nature  and  of  human,  before  the  manifold,  ever-multi- 
plying combinations  of  thought  and  feeling  had  fhaped 
themfelves  into  the  multifarious  complexities  of  human 

In  * * * * 

character. 

Where  to  find  a parallel  for  Raphael  in  the  modern 
world,  I know  not.  Sophocles,  among  poets,  mofl: 
refembles  him.  In  knowledge  of  the  diverfities  of 
human  character,  he  comes  nearer  than  any  other 


56 


RAPHAEL’S  GENIUS. 


painter  to  him,  who  is  unapproached  and  unapproach- 
able, Shakfpeare ; and  yet  two  worlds,  that  of  Humor, 
and  that  of  Paffion,  feparate  them.  In  exquifitenefs 
of  art,  Goethe  might  be  compared  to  him.  But 
neither  he  nor  Shakfpeare  has  Raphael’s  deep  Chriftian 
feeling.  And  then  there  is  fuch  a peculiar  glow  and 
blufh  of  beauty  in  his  works : whitherfoever  he  comes, 
he  fheds  beauty  from  his  wings. 

Why  did  he  die  fo  early  ? Becaufe  morning  cannot 
laft  till  noon,  nor  fpring  through  fummer.  Early,  too, 
as  it  was,  he  had  lived  through  two  flages  of  his  art, 
and  had  carried  both  to  their  higheB  perfection. 

This  rapid  progreffivenefs  of  mind  he  alfo  had  in 
common  with  Shakfpeare  and  Goethe,  and  with  few 
others. 


Senate  jfamillc  bite  £a  |Jevlc. 

FTER  the  death  of  Charles  I.  of  England,  a 


fale  was  ordered  of  his  collection  of  Works  of 


Art,  valued  at  £4.9,903  2s.  6d.  The  difperfion 
NB  took  place  in  1650  and  1653,  attracting  vaft 
numbers  of  agents  from  foreign  princes,  and  amateurs 


fale,  including  the  embroideries,  jewels,  etc.,  was 
£118,080  10s.  2d.;  the  feven  Cartoons  being  pur- 
chafed  for  the  Britifh  nation  for  £300. 

The  purchafes  of  the  Spanifh  ambaflador,  Don 
Alonzo  de  Cardenas,  were  fo  great,  that  eighteen 
mules  were  required  to  convey  them  from  Corunna  to 
Madrid.  Among  them  was  the  large  Holy  Family  by 
Raphael,  from  the  Mantua  Collection,  for  which  he 
gave  £2,000.  Philip  IV.  is  faid  to  have  exclaimed  on 
feeing  it,  “ This  is  my  Pearl ; ” hence  the  picture  has 


from  all  parts  of  Europe.  The  total  proceeds  of  the 


8 


1 


5<S  SAINTE  FAMILLE  DITE  LA  PERLE. 

been  To  defignated  by  lovers  of*  art.  “ And  he  was  a 
good  j ridge,”  fays  the  editor  of  Murray’s  Hand-Book 
of  Spain,  “ for  never  was  the  ferious  gentlenefs  of  the 
blefied  Virgin-Mother,  her  beauty  of  form,  her  purity 
of  foul,  better  portrayed.” 

Says  Kugler,  it  is  “ the  mod:  important,  and,  in 
compodtion,  unquedionably  the  fined  of  Raphael’s 
Holy  Families.  The  figures  arranged  in  perfect  har- 
mony, form  a beautiful  group.” 

The  Madonna  is  reprefented  full  life-fize,  holding 
with  one  hand  the  Infant  Jefus,  who  is  half  feated  on  her 
right  knee,  his  left  leg  reding  on  the  cradle,  the  other 
hanging  down.  The  little  St.  John,  railing  with  both 
hands  the  fkirt  of  his  Ikin  garb,  is  prefenting  to  the 
Infant  Jefus  the  fruits  he  has  collected  there.  The 
child,  ere  he  takes  them,  turns  fmilingly  towards  his 
mother,  as  if  to  folicit  her  permiffion.  Mary’s  left  arm 
reds  on  the  fhoulder  of  St.  Anne,  who,  kneeling,  feems 
abforbed  in  meditation.  The  background  is  occupied 
on  one  fide  with  a landfcape,  on  the  other  with  ruins, 
clofe  to  which  we  fee  St.  Jofeph. 

De  Ouincey  remarks,  “The  coloring  of  this  picture, 
though  fomewhat  faded  by  the  effects  of  time,  has  pre- 
ferved  great  vigor,  and  a harmony,  which,  in  fome  of 
its  parts,  need  fear  no  comparifon  with  the  works  of 


SAINTE  FAMILLE  DITE  LA  PERLE. 


59 


the  Venetian  fchool.  The  flefh  tints  of  the  Infant 
Jefus  are  as  brilliant,  as  the  movement  and  outlines  of 
the  figure  are  graceful  and  pure.  In  more  than  one 
place  of  the  pidture,  we  detedt  corredtions,  or  fecond  , 
thoughts.  We  learn  from  thefe  that  the  head  of  the 
Virgin,  now  a three-quarters  face,  was  at  firft  in  profile. 
The  hair  above  the  left  temple  has  been  raifed.  We 
alfo  perceive  feveral  alterations  in  the  outline  of  the 
left  hand  of  the  Virgin,  and  of  the  left  thigh  of  the 
child.” 

Three  others  of  Raphael’s  pidtures  are  in  the  Efcu- 
rial  Gallery  : i.  e.,  The  Madonna  del  Spafimo,  Virgen 
del  Pez  (of  the  Fifh),  and  the  Annunciation.  Thefe 
four  gems  came  near  falling  into  Englifh  hands  a few 
years  fince.  It  having  been  intimated  that  the  govern- 
ment was  difpofed  to  part  with  them,  Lord  Clarendon 
offered,  through  the  Spanifh  minifter,  the  fum  of 
£80,000  for  them.  But  profound  fecrecy  was  a con- 
dition of  the  negotiation — whether  with  a view  of 
replacing  the  originals  with  copies,  on  the  walls  of  the 
Gallery,  which  a public,  ignorant  of  the  fale,  fhould 
accept  as  genuine,  can  only  be  furmifed, — and  the 
matter  coming  to  the  ears  of  the  public,  the  Spanifh 
government  withdrew  its  confent  to  the  fale. 


Stui)ic0  of  Bcipljacl. 

Henry  Ward  Beecher. 


HEN  1 was  in  the  Galleries  of  Oxford,  I faw 
many  of  the  dehgns  of  Raphael  and  Michael 
Angelo.  I looked  upon  them  with  reverence, 
and  took  up  fuch  of  them  as  I was  permitted 
to  touch,  as  one  would  take  up  a love-token.  It  feemed 
to  me,  thefe  fketches  brought  me  nearer  the  great  mas- 
ters than  their  hnifhed  pictures  could  have  done,  becaufe 
therein  I faw  the  mind’s  procefles  as  they  were  firft 
born.  They  were  the  firfl  falient  points  of  the  infpira- 
tion. 

v” — 


Mozart  and  Raphael  ! as  long  as  the  winds  make 
the  air  give  forth  founds,  and  the  fun  paints  the  earth 
with  colors,  fo  long  fhall  the  world  not  let  thefe  names 
die. 


j0)mun  to  tljc  Virgin. 

Frances  Sargent  Osgood. 


_ OTHER  of  the  fpirit  child ! 

Of  the  guilelefs  and  the  meek, 

Mournful  are  thine  eyes,  but  mild 
With  a beauty  from  above ; 

Pale  but  eloquent  with  love, 

Thy  youthful  brow  and  cheek  ! 

Thou,  oh  ! thou  haft  known  a parent’s  wafting  grief! 
A fuppliant  parent  kneels,  imploring  thy  relief! 


By  the  pure  and  folemn  joy 
Filling  all  thy  maiden  breaft, 

When  the  precious  heaven-born  boy, 
Glowing  with  celeftial  charms, 

Lay  within  thofe  virgin  arms 
A bright  and  wondrous  gueft ! 

Hear  in  mercy,  hear  the  faltering  voice  of  grief! 
A fuppliant  mother  kneels,  imploring  thy  relief! 


62 


HYMN  TO  THE  VIRGIN. 


By  thine  anguilh  in  that  hour, 

Hour  of  woe  and  dread,  when  Death 
Dared  to  Bay  the  awful  power, 

High,  majeftic  yet  benign; 

Dared  to  feal  the  truth  divine 
Which  dwelt  upon  his  breath  ! 

By  thy  hope,  thy  trull,  thy  rapture,  and  thy  grief, 
Oh  ! fainted  Marie  ! fend  this  breaking  heart  relief ! 


iilabomta  tit  iroligno, 


ALSO  KNOWN  AS 

LA  VIERGE  AU  DONATAIRE. 

«f  HIS  renowned  Madonna  belongs  to  the  clafs  of 
votive  * pidtures.  Sigifmund  Conti,  of  Foligno, 
a learned  hiftorian,  and  private  fecretary  to  Pope 
Julius  II.,  having  been  in  great  danger  from  a 
meteor,  or  thunderbolt,  vowed  an  offering  to  the  Bleffed 
Virgin,  to  whom  he  attributed  his  fafety,  and  in  fulfil- 
ment of  his  vow,  induced  Raphael  to  paint  this  precious 


* Providential  efcapes,  viftories,  and  fuccefles,  were  among  the  mod  frequent  occalions  of 
what  are  called  votive  pictures.  In  thefe  compofitions,  the  Madonna  and  Child  are  generally 
reprefented  furrounded  by  faints,  the  latter  being  felefted  for  various  reafons,  according  to  the 
tafte  or  devotion  of  the  proprietor  of  the  pidture.  The  donor  is  frequently  introduced  kneel- 
ing, fometimes  alone,  fometimes  with  his  family,  and  in  many  cafes  a patron  faint  recom- 
mends the  votaries.  The  ultimate  interceffion  of  the  Madonna  is,  however,  diftindtly  intimated 
by  her  appearing  in  the  chara&er  of  the  “ Mater  Dei.”  When  fhe  is  reprefented  alone,  her 
aftion  is  more  diredly  that  of  a fuppliant. — Sir  Chas.  Eastlake. 


64 


MADONNA  D I FOLIGNO. 


picture,  which  he  bellowed  upon  the  Church  of  Ara 
Cceli  in  Rome.  This  was  in  15 11,  when  Raphael  was 
in  his  twenty-eighth  year.  In  the  upper  part  of  the 
picture  is  the  Madonna  with  the  Child,  enthroned  on 
the  clouds  in  a glory,  furrounded  by  angels.  Under- 
neath, on  one  fide,  kneels  the  donor,  railing  his  folded 
hands  to  the  Virgin;  behind  him  Rands  St.  Jerome, 
who  recommends  him  to  her  care.  On  the  other  fide 
is  St.  Francis,  alfo  kneeling  and  looking  upward,  while 
he  points  with  one  hand  out  of  the  picture  to  the  people, 
for  whom  he  entreats  the  protection  of  the  Mother  of 
Grace;  behind  him  is  John  the  Baptift,  who  points  to 
the  Madonna,  while  he  looks  at  the  fpedtator  as  if  in- 
viting the  latter  to  pay  her  homage. 

In  the  centre  of  the  picture  and  immediately  be- 
neath the  Virgin,  is  an  angel  boy;  his  head  raifed, 
while  in  his  hands  he  holds  a tablet,  evidently  intended 
for  an  infcription,  though  no  trace  appears  thereon. 
The  background  is  a beautiful  landfcape.  In  the  dis- 
tance is  the  city  of  Foligno,  on  which  falls  a meteor, 
an  allufion  to  the  circumftance  which  called  forth  the 
donation ; above  thefe,  arches  a rainbow — pledge  of 
peace  and  fafety. 

The  Church  of  Ara  Coeli,  in  which  the  picture 
was  dedicated,  belonged  to  the  Francifcans,  which  ac- 


MADONNA  D I FOLIGNO. 


65 


counts  for  the  introduction  of  St.  Francis  into  the  com- 
pofition.  The  prefence  of  the  figure  of  St.  Jerome  is 
not  fo  eatily  explained;  but  Mrs.  Jamefon  fuggefts  the 
following  hypothecs,  which  is  at  leaf!:  ingenious,  and 
not  improbable : “ The  patron  faint  of  the  donor,  St. 
Sigifmund,  was  a king  and  a warrior,  and  Conti  might 
poflibly  think  that  it  did  not  accord  with  his  profeflion, 
as  an  humble  ecclefiaftic,  to  introduce  him  here.  The 
mod:  celebrated  convent  of  the  Jeronimites  in  Italy  is 
that  of  St.  Sigifmund  near  Cremona,  placed  under  the 
fpecial  protection  of  St.  Jerome,  who  is  alfo,  in  a 
general  fenfe,  the  patron  of  all  ecclefiaftics ; hence 
perhaps  he  figures  here  as  the  protestor  of  Sigifmund 
Conti.” 

Conti  died  in  1512,  and  in  1565  the  picture  was 
removed  by  his  grandniece,  Inora  Anna  Conti,  to  a 
convent  called  Le  ContefTe,  at  Foligno,  of  which  fhe 
was  a nun.  It  was  carried  off  to  Paris  by  the  French 
in  1792.  At  the  reftoration  of  the  works  of  art  in 
Italy,  in  1815,  it  was  placed  in  the  Vatican,  of  which 
it  is  now  one  of  the  moft  prized  ornaments.  This 
picture  has  received  the  higheft  encomiums  for  its  fpirit 
and  execution,  in  its  feveral  parts  and  as  a whole.  It 
has  been  pronounced  “ one  of  Raphael’s  moft  remark- 
able examples  for  the  expreflion  of  character,”  and  as 

9 


66 


MADONNA  D I FOLIGNO. 


‘ ‘ one  of  the  moft  vigorous  in  coloring  and  general 
execution.” 

Vafari,  in  commenting  upon  the  individual  figures, 
remarks  of  St.  John,  “ We  recognize  him  by  his  attenu- 
ated frame,  the  refult  of  penitence  and  long  faffing ; his 
countenance,  the  mirror  of  his  foul,  announces  that 
franknefs  and  abruptnefs  of  manners  ufual  with  thofe 
who  flee  the  world,  and  who,  if  ever  they  appear  in  it, 
manifefl  themfelves  the  enemies  of  all  diflimulation.” 

To  which  fentiment,  De  Quincey  (the  Biographer 
of  Raphael  and  Michael  Angelo)  adds : “ This  is  what 
Pliny  calls  pingere  mores — an  expreflion,  the  literal 
tranflation  of  which  does  not  adequately  reprefent  its 
meaning,  which  fhould  be  conftrued — to  paint  the 
moral  of  each  fubjecfl.” 

Hazlitt  fays,  “ I know  not  enough  how  to  admire 
the  innumerable  heads  of  cherubs  furrounding  her, 
touched  in  with  fuch  care  and  delicacy,  yet  fo  as 
fcarcely  to  be  perceptible  except  on  clofe  infpedfion, 
nor  that  figure  of  the  winged  cherub  below,  offering 
the  cafket,  and  with  his  round  chubby  face  and  limbs 
as  full  of  rofy  health  and  joy,  as  the  cup  is  full  of  the 
juice  of  the  purple  vines.” 

Kugl  er  alfo  fpeaks  of  the  angel  with  the  tablet, 
as  “ of  unfpeakable  intenfity  and  exquifite  beauty — 


MADONNA  D I FOLIGNO. 


67 


one  of  the  moft  marvellous  figures  that  Raphael  has 
created  : ” and  Vafari  confiders  it  “ not  polfible  to  im- 
agine any  thing  more  graceful  or  more  beautiful  than 
this  child,  whether  as  regards  the  head  or  the  reft  of 
the  perfon.” 

The  original  is  reported  to  be  one  of  the  befi:  pre- 
ferved  of  Raphael’s  pidtures,  many  of  which  have  fuf- 
fered  from  the  hand  of  time,  and  the  yet  more  to  be 
dreaded  hand  of  pidture-cleaners  and  “ reftorers.” 


Stanzas, 


SUGGESTED 

BY  A BEAUTIFUL  COPY  OF  THE  MADONNA  AND  CHILD. 
By  Bernard  Barton. 

MAY  not  change  the  fimple  faith, 

In  which  from  childhood  I was  bred ; 
Nor  could  I,  without  fcorn  or  fcathe, 
The  living  feek  among  the  dead , 

My  foul  has  far  too  deeply  fed 

On  what  no  painting  can  exprefs, 

To  bend  the  knee,  or  bow  the  head, 

To  aught  of  pi&ured  lovelinefs. 

And  yet,  Madonna ! when  I gaze 
On  charms  unearthly,  fuch  as  thine ; 
Or  glances  yet  more  reverent  raife, 

Unto  that  infant,  fo  Divine ! 


STANZAS. 


69 


I marvel  not  that  many  a fhrine 

Hath  been,  and  hill  is,  reared  to  thee, 
Where  mingled  feelings  might  combine 
To  bow  the  head  and  bend  the  knee. 

For  who — that  is  of  woman  born, 

And  hath  that  birthright  underftood, 
Mindful  of  being’s  early  morn, 

Can  e’er  behold  with  thoughtlefs  mood, 
Moft  pure  and  perfedt  womanhood  ? 

Woman — by  angel  once  addrelTed  ; 

And  by  the  wife,  the  great,  the  good 
Of  every  age  accounted  blelled  ! 

Or  who  that  feels  the  fpell — which  Heaven 
Calls  round  us  in  our  infancy, 

But  more  or  lefs,  hath  homage  given 
To  childhood — half  unconfcious  why? 

A yet  more  touching  myftery 
Is  in  that  feeling  comprehended, 

When  thus  is  brought  before  the  eye, 

Godhead  with  childhood  ftrangely  blended. 

And  hence  I marvel  not  at  all, 

That  fpirits,  needing  outward  aid, 


7o 


STANZAS. 


Should  feel  and  own  the  magic  thrall 
In  your  meek  lovelinefs  difplayed : 

And  if  the  objects  thus  portrayed 

Brought  comfort,  hope,  or  joy  to  them, 
Their  error,  let  who  will  upbraid, 

I rather  pity — than  condemn. 

For  me,  though  not  by  hands  of  mine 
May  fhrine  or  altar  be  upreared; 

In  you,  the  human  and  Divine 
Have  both  fo  beautiful  appeared, 

That  each,  in  turn,  hath  been  endeared, 
As  in  you  feeling  has  explored 
Woman — with  holier  love  revered, 

And  God — more  gratefully  adored. 


£a  lltctgc  atix  Canklabrcs. 

fHIS  fomewhat  fingular  reprefentation  of  the  Holy 
Mother  and  Child,  is  elated  by  Kugler  among 
thofe  Madonnas  which  were,  in  a great  meafure, 
the  work  of  Raphael’s  fcholars,  and  only  par- 
tially touched  by  the  fingers  of  the  great  mafler  himfelf. 

If  the  face  of  the  infant  is  one  of  the  leaf!  pleafing 
of  the  feries,  his  pofition  is  eafy  and  natural,  and  the 
countenance  of  the  Virgin  has  a large  fhare  of  that 
ineffable  fweetnefs  of  expreflion,  combined  with  a calm 
thoughtfulnefs,  which  characterizes  all  the  Madonnas 
of  this  artifl. 

The  original  painting  formed  a part  of  the  collection 
of  Lucien  Bonaparte,  Prince  of  Canino,  at  the  Palazzo 
Lucano,  Rome ; and  was  fold  in  England,  with  other 
treafures  of  art,  by  the  Duke  of  Lucca,  in  1840,  and 
is  now  in  the  pofTeflion  of  Mr,  Munro. 


®ljc  £cgcni>  of  0antavcm. 


By  Caroline  Southey. 


liffen  to  a monkifh  tale  of  old, 

Right  Catholic,  but  puerile  fome  may  deem, 
Who  all  unworthy  their  high  notice  hold 

Aught  but  grave  truth,  or  lofty  learned  theme 
Too  wife  for  fimple  fancies,  fmiles  and  tears, 
Dreams  of  our  earlielf,  pureft,  happieh:  years. 


Come — liften  to  my  legend ; for  of  them 
Surely  thou  art  not : and  to  thee  I’ll  tell 
How  on  a time  in  holieft  Santarem 
Strange  accident  miraculous  befell 
Two  little  ones;  who  to  the  facred  fhrine 
Came  daily  to  be  fchooled  in  things  divine. 


THE  LEGEND  OF  SANTAREM. 


73 


Twin  lifters — orphan  innocents  were  they  : 

Moft  pure,  I ween,  from  all  but  the  olden  taint, 
Which  only  Jefu’s  blood  can  wafh  away: 

And  holy  as  the  life  of  holieft  faint, 

Was  his,  that  good  Dominican’s,  who  fed 
His  mafter’s  lambs,  with  more  than  daily  bread. 

The  children’s  cuftom,  while  that  pious  man 
Performed  the  various  duties  of  his  ftate 
Within  the  fpacious  church,  as  facriftan, 

Was  on  the  altar  fteps  to  lit  and  wait, 

Neftling  together  (’twas  a lovely  light !) 

Like  the  young  turtle-doves  of  Hebrew  rite. 

A fmall  rich  chapel  was  their  fandluary, 

While  thus  abiding ; — with  adornment  fair 
Of  curious  carved  work,  wrought  cunningly, 

In  all  quaint  patterns,  and  devices  rare  : 

And  over  them,  above  the  altar,  fmiled 
From  Mary-Mother’s  arms,  the  Holy  Child. 

Smiled  on  his  infant  guefts,  as  there  below, 

On  the  fair  altar  fteps,  thefe  young  ones  fpread 
(Nor  aught  irreverent  in  fuch  a<ft  I trow) 

Their  limple  morning  meal  of  fruit  and  bread. 

io 


74 


THE  LEGEND  OF  SANTAREM. 


Such  feaft  not  ill  befeemed  the  facred  dome — 
Their  father’s  houfe  is  the  dear  children’s  home. 


At  length  it  chanced,  upon  a certain  day, 
When  Frey  Bernardo  to  the  chapel  came, 
Where  patiently  was  ever  wont  to  Bay 

His  infant  charge ; with  vehement  acclaim 
Both  lifping  creatures  forth  to  meet  him  ran, 
And  each  to  tell  the  fame  ftrange  tale  began. 


“ Father  ! ” they  cried,  as  hanging  on  his  gown 
On  either  fide,  in  each  perplexed  ear 
They  poured  their  eager  tidings — “ He  came  down 
Menino  Jefu  has  been  with  us  here  ! — 

We  afked  him  to  partake  our  fruit  and  bread  ; 
And  he  came  down — and  fat  with  us — and  fed.” 


“Children!  my  children!  know  ye  what  ye  fay? 

Bernardo  haftily  replied — “ But  hold  ! — 
Peace,  Briolanja  ! rafh  art  thou  alway : 

Let  Inez  fpeak.”  And  little  Inez  told, 

In  her  flow  filvery  fpeech  diftindtly  o’er, 

The  fame  ftrange  tidings  he  had  heard  before. 


THE  LEGEND  OF  SANTAREM. 


75 


“ Blefted  are  ye,  my  children  ! ” with  devout 
And  deep  humility,  the  good  man  cried — 

“ Ye  have  been  highly  favored.  Still  to  doubt 
Were  grofs  impiety  and  fceptic  pride. 

Ye  have  been  highly  favored.  Children,  dear ! 
Now  your  old  mafter’s  loving  counfel  hear. 

“ Return  to-morrow  with  the  morning  light, 

And  as  before,  fpread  out  your  ftmple  fare 
On  the  fame  table ; and  again  invite 
Menino  Jefu  to  defcend  and  fhare : 

And  if  he  come,  fay — ‘ Bid  us,  blelfed  Lord  ! 

We  and  our  mafter  to  thy  heavenly  board.’ 

“ Forget  not,  children  of  my  foul ! to  plead 
For  your  old  mafter  : even  for  his  fake 
Who  fed  ye  faithfully : and  he  will  heed 
Your  innocent  lips ; and  I fhall  fo  partake 
With  his  dear  lambs.  Beloved,  with  the  fun 
Return  to-morrow.  Then — His  will  be  done.” 

“ To-night  ! to-night ! Menino  Jefu  faith 

We  fhall  fup  with  him,  Father ! we  and  thee,” 
Cried  out  both  happy  children  in  a breath 
As  the  good  father  entered  anxioufly 


7° 


THE  LEGEND  OF  SANT A REM. 


About  the  morrow’s  noon,  that  holy  fhrine, 
Now  confecrate  by  fpecial  grace  divine. 


“ He  bade  us  come  alone ; but  then  we  faid 

We  could  not,  without  thee,  our  Mafter  dear — 
At  that,  he  did  not  frown,  but  fhook  his  head 
Denyingly : Then  Araight  with  many  a tear 

We  prayed  fo  fore,  he  could  not  but  relent, 

And  fo  he  fmiled  at  laft,  and  gave  confent.” 


“ Now  God  be  praifed  !”  the  old  man  faid,  and  fell 
In  prayer  upon  the  marble  floor  ftraightway, 

His  face  to  earth : and  fo,  till  vefper  bell, 
Entranced  in  the  fpirit’s  depths  he  lay; 

Then  rofe  like  one  refrefhed  with  wine,  and  flood, 
Compofed  among  th’  aflembling  Brotherhood. 


The  mafs  was  faid  ; the  evening  chant  was  o’er ; 

Huflied  its  long  echoes  through  the  lofty  dome : 
And  now  Bernardo  knew  the  appointed  hour 
That  he  had  prayed  for,  of  a truth  was  come. 
Alone  he  lingered  in  the  folemn  pile, 

Where  darknefs  gathered  faft  from  aifle  to  aifle ; 


THE  LEGEND  OF  SANTAREM. 


77 


Except  that  through  a didant  door-way  dreamed 
One  danting  funbeam,  gliding  whereupon 
Two  angel  fpirits — (fo  in  Tooth  it  Teemed, 

That  lovelied  vidon) — hand  in  hand  come  on, 
With  noiTeleTs  motion.  “ Father  ! we  are  here,” 
Sweetly  Taluted  the  good  Father’s  ear. 

A hand  he  laid  on  each  Tair  Tun-bright  head, 

Rayed  like  a Teraph’s  with  effulgent  light, 

And — “ Be  ye  bled,  ye  blelfed  ones,”  he  Taid, 

“ Whom  JeTu  bids  to  his  own  board  to-night — 
Lead  on,  ye  choTen,  to  the  appointed  place 
Lead  your  old  mader.”  So,  with  dedTad  Tace, 

He  followed,  where  theTe  young  ones  led  the  way 
To  that  Tmall  chapel — like  a golden  clue 
Streamed  on  before  that  long  bright  TunTet  ray, 

Till  at  the  door  it  dopt.  Then  palling  through, 
The  mader  and  the  pupils,  dde  by  dde, 

Knelt  down  in  prayer  before  the  Crucified. 

Tall  tapers  burnt  before  the  holy  Thrine ; 

Chalice  and  paten  on  the  altar  dood, 

Spread  with  Tair  damafk.  OT  the  crimfon  wine 
Partaking  fird  alone ; the  living  food 


78 


THE  LEGEND  OF  SANTAREM. 


Bernardo  next  with  his  dear  children  fhared — 
Young  lips,  but  well  for  heavenly  food  prepared. 

And  there  we  leave  them.  Not  for  us  to  fee 
The  feaft  made  ready,  that  firft  a£t  to  crown ; 
Nor  to  perufe  the  folemn  my  fiery 

Of  the  divine  Menino’s  coming  down 
To  lead  away  th’  eledt,  expectant  three, 

With  him  that  night  at  his  own  board  to  be. 

Suffice  it,  that  with  him  they  furely  were 

That  night  in  Paradife ; for  thofe  who  came 
Next  to  the  chapel  found  them  as  in  prayer, 

Still  kneeling — ffiffened  every  lifelefs  frame, 
With  hands  and  eyes  upraifed  as  when  they  died, 
Toward  the  image  of  the  Crucified. 

That  mighty  miracle  fpread  far  and  wide, 

And  thoufands  came  the  feaft  of  death  to  fee ; 
And  all  beholders,  deeply  edified, 

Returned  to  their  own  homes  more  thoughtfully, 
Mufing  thereon : with  one  great  truth  impreft, 
That  “ to  depart  and  be  with  Chrift  is  beffi” 


£a  Belle  Jardiniere. 


fECOND  only  to  the  Madonna  della  Seggiola,  in 
popular  eflimation,  this  fimple  and  beautiful 
3 pidure  has  been  reproduced  in  numerous  en- 
gravings, and  become  one  of  the  beft  known  of 
the  feries.  “ The  fweetefl  cheerfulnefs,  grace,  and  in- 
nocence,” obferves  Kugler,  “ breathe  from  this  pidure.” 
It  was  painted  by  Raphael  at  Florence,  juft  as  he 
was  leaving  that  city  for  Rome,  about  1507,  and  fent 
to  Siena.  It  was  purchafed  by  Francis  I.,  and  now 
forms  one  of  the  attradions  of  the  Louvre, — though 
it  has  unfortunately  been  much  injured. 

De  guincey  deferibes  it  as  “ one  of  thofe  ftmple 
deftgns,  which  more  efpecially  from  the  ftze  (fmall  life) 
of  the  figures,  we  may  place  in  the  firft  rank  of  thofe 
in  which  Raphael,  before  riling  to  the  ideal  of  his 
fubjed,  as  he  afterwards  did,  confined  himfelf  to  the 


8o 


LA  BELLE  JARDINIERE. 


conceptions  of  pure  hmplicity,  innocence,  and  model! 
grace,  of  which  he  found  the  models  in  the  young 
village  girls.  Nothing  can  equal  the  artleflnefs  of  this 
compofition.  The  tone  of  color  and  the  ftyle  of  draw- 
ing are  in  admirable  harmony,  and  that  harmony  could 
create  nothing  purer  or  more  divine  than  the  form 
of  the  Infant  Jefus,  and  the  feeling  of  adoration  of  the 
little  Saint  John.” 


■■■■■ 


I 


®l)c  ©li)  ittaetcra. 

LANDOR’S  IMAGINARY  CONVERSATIONS. 

[Cardinal  Alboni.] 

*ITIAN  ennobled  men ; Correggio  raifed  children 
to  angels ; Raphael  performed  the  more  arduous 
1 work  of  reftoring  to  woman  her  priftine  purity. 
Perugino  was  worthy  of  leading  him  by  the 
hand.  I am  not  furprifed  that  Rubens  is  the  prime 
favorite  of  tulip- fanciers ; but  give  me  the  clear  warm 
mornings  of  Correggio,  which  his  large-eyed  angels, 
juft  in  puberty,  fo  enjoy.  Give  me  the  glowing 
afternoons  of  Titian ; his  majeftic  men,  his  gorgeous 
women,  and  (with  a prayer  to  protect  my  virtue)  his 
Bacchantes.  Yet,  Signors ! we  may  defcant  on  grace 
and  majefty  as  we  will,  believe  me,  there  is  neither 
majefty  fo  calm,  concentrated,  fublime,  and  felf-pos- 


ii 


82 


THE  OLD  MASTERS. 


sefied  (true  attributes  of  the  divine)  ; nor  is  there  grace 
at  one  time  fo  human,  at  another  time  fo  fuperhuman, 
as  in  Raphael. 

He  leads  us  into  heaven ; but  neither  in  fatin  robes 
nor  with  ruddy  faces.  He  excludes  the  glare  of  light 
from  the  fandtuary;  but  there  is  an  ever-burning  lamp, 
an  ever-afcending  hymn ; and  the  purified  eye  fees,  as 
diftin<fily  as  is  lawful,  the  divinity  of  the  place. 

I delight  in  Titian;  I love  Correggio;  I wonder 
at  the  vaftnefs  of  Michael-Angelo ; I admire,  love, 
wonder,  and  then  fall  down  before  Raphael. 


£<t  tliergc  a la  H coemption. 

«HIS  Madonna,  which  we  were  induced  to  include 
in  the  prefent  collection,  by  the  twofold  claim 

Tit  pofiefies,  of  great  fweetnefs  of  expreffion,  and 
a diffimilarity  to  any  other  of  the  number  chofen, 
we  are  very  nearly  convinced,  from  careful  invefiiga- 
tion,  was  not  executed  by  Raphael,  though  it  paffes 
generally  unqueftioned  as  fuch.  This  fact  being  ad- 
mitted, critics  will  find  little  difficulty  in  pointing  out 
its  defects, — ftiffnefs,  want  of  dignity  and  character, 
etc., — which,  however  correct  the  judgment,  would 
hardly  have  been  difeovered,  or  at  leaf!,  avowed,  while 
the  paternity  of  the  original  was  undoubted.  Probably 
the  painting  was  executed  by  the  immediate  fcholars  of 
the  great  mafier,  and  may  have  received  fome  touches 
from  his  own  hand. 

The  original  is  faid  to  be  in  the  pofieffion  of  M. 
Raphael  Tofoni,  Profefior  of  Chemiftry  at  Milan. 


Ccttcr  from  Uopljacl 

TO  HIS  UNCLE. 


Written  from  Rome,  July  ist,  1514. 


[Probably  no  apology  is  required  for  introducing  this  letter  of  Raphael’s ; — one  of  the  few 
that  have  been  preferved.  If  there  were,  we  fhould  urge,  firft, — in  general  terms,  the  vaft 
fuperiority  of  original  letters  over  formal  Biography,  however  ingenious  and  able,  in  bringing 
us  into  adtual  contatt  with  the  fubjeft  of  our  inquiry ; and  fecondly,  the  unufual  intereft  of  the 
incidents  narrated,  and  the  charming  fimplicity  of  ftyle,  would  be  fufficient  reafons  for  the 
republication  of  the  particular  letter  in  quellion. — Ed.] 


EAR  Uncle  and  Second  Father, — I have  re- 
ceived a letter  from  you,  to  me  mofl  gratifying, 
fince  I find  that  you  are  not  angry  with  me ; 
indeed,  you  would  be  wrong  to  be  fo,  for  con- 
fider  how  irkfome  it  is  to  write  when  there  is  nothing 
important  to  communicate.  But  now  that  there  is 
important  matter  to  talk  about,  I reply. 


LETTER  FROM  RAPHAEL. 


85 


In  the  firft  place,  with  regard  to  taking  a wife,  I 
anfwer  that,  as  to  the  one  you  firft  intended  to  give 
me,  I am  mod:  happy,  and  thank  God  conftantly  that  I 
neither  married  her  nor  any  other,  and  in  this  refpedt 
I have  been  wifer  than  you,  who  wifhed  to  give  her  to 
me. 

I am  fure  you  mud  now  yourfelf  be  convinced 
that,  had  I followed  your  advice,  I fhould  not  have  been 
in  the  podtion  in  which  I am.  At  this  moment  I find 
that  I have  property  in  Rome  to  the  amount  of  3,000 
gold  ducats,  and  an  income  of  50  gold  crowns.  His 
Holinefs  allows  me  300  gold  ducats  (annually)  for 
fuperintending  the  building  of  St.  Peter’s : this  pro- 
vifion  is  fecured  to  me  for  life. 

Other  fuch  falaries  are  in  profpedt,  in  addition  to 
which  I am  paid  whatever  I choofe  to  afk  for  my  works, 
and  I have  begun  another  room  for  His  Holinefs,  which 
will  amount  to  1,200  gold  ducats;  fo  that,  dear  uncle, 
I do  honor  to  you  and  all  my  relations,  and  to  my 
native  place ; but  I ceafe  not  to  hold  you  in  my  heart, 
and  when  I hear  you  named,  it  is  as  if  I heard  my 
father  named.  Do  not,  therefore,  complain  becaufe  I 
do  not  write ; I might  rather  complain  of  you  who 
have  always  the  pen  in  your  hand,  and  yet  fuffer  fix 
months  to  intervene  between  one  letter  and  another. 


86 


LETTER  FROM  RAPHAEL. 


To  return  to  the  fubjedt  of  the  wife,  from  which  I have 
digrefTed  : you  are  aware  that  Santa  Maria  in  Portico 
(Cardinal  Bibiena)  wifhes  to  give  me  a relation  (a  grand- 
niece) of  his,  and,  on  condition  of  obtaining  your  con- 
fent,  and  that  of  my  uncle  the  pried:,  I promifed  to  do 
whatever  his  Eminence  wifhed.  I cannot  break  my 
word ; we  are  more  than  ever  ready  to  conclude  the 
affair,  and  I will  foon  inform  you  of  all.  Do  not  be 
offended  that  this  bulinefs  thus  takes  its  good  courfe ; 
if  it  fhould  come  to  nothing,  I will  then  do  whatever 
you  wifh,  and  know,  if  Francefco  Buffa  has  good 
alliances  within  his  reach,  that  I can  boad:  fome  too; 
for  I can  find  a hand  fome  lafs  in  Rome,  of  excel- 
lent name,  both  fhe  and  hers ; her  friends,  indeed,  are 
ready  to  give  me  a dowry  of  3,000  gold  crowns  with 
her.  Meanwhile,  I live  in  Rome,  where  100  ducats 
are  more  worth  having  (all  things  confidered)  than  200 
in  Urbino;  of  this  be  fure.  With  refpedt  to  redding 
in  Rome,  I can  no  longer  remain  elfewhere  for  any 
length  of  time,  on  account  of  the  building  of  St. 
Peter’s — for  I am  in  Bramante’s  place  : but  what  place 
in  the  world  is  more  glorious  than  Rome  ? and  what 
undertaking  more  honorable  than  St.  Peter’s — the  brd 
temple  in  the  world — the  greateff  drudfure  that  has 
ever  been  feen,  and  which  will  cod:  more  than  a million 


LETTER  FROM  RAPHAEL. 


87 


of  gold  ? Know  that  the  Pope  has  determined  to  fpend 
60,000  ducats  annually  for  this  building;  he  thinks  of 
nothing  elfe.  He  has  affociated  with  me,  in  the  direc- 
tion, a very  learned  friar,  more  than  eighty  years  old ; 
the  Pope  fees  he  cannot  live  long,  and  has  appointed 
him  as  my  colleague,  as  he  is  a man  of  great  reputa- 
tion and  experience,  in  order  that  I may  learn  from 
him,  if  he  has  any  excellent  fecret  in  architecture,  and 
that  I may  become  accomplifhed  in  this  art ; he  is 
called  Fra  Giacondo.  Every  day  the  Pope  fends  for  us, 
and  confults  with  us  for  a while  about  this  building. 

I beg  you  will  go  to  the  Duke  and  Duchefs,  and 
tell  them  I know  they  will  be  pleafed  to  hear  that  a 
fervant  of  theirs  does  himfelf  honor,  and  commend  me 
to  their  HighnelTes.  I commend  myfelf  unceafingly  to 
you.  Greet  all  friends,  efpecially  Ridolfo,  who  has  fo 
much  affection  for  me. 

“ El  vostro  Rafael,  Pittore  in  Roma. 


“Alii  primo  Luglio,  1514.” 


Jfrom  “®ljc  |)alacc  of  &rt.” 


By  Tennyson. 

****** 

R the  maid-mother  by  a crucifix, 

In  tra&s  of  pafture  funny-warm, 
Beneath  branch-work  of  coftly  fardonyx 
Sat  fmiling,  babe  in  arm. 

Or  in  a clear-walled  city  on  the  fea, 
Near  gilded  organ-pipes,  her  hair 
Wound  with  white  rofes,  fiept  St.  Cecily 
An  angel  looked  at  her. 

Or,  thronging  all  one  porch  of  Paradife, 
A group  of  Houris  bowed  to  fee 
The  dying  Ifiamite,  with  hands  and  eyes 
That  faid,  we  wait  for  thee. 


FROM  “THE  PALACE  OF  ART.”  89 

Or  mythic  Uther’s  deeply  wounded  Ton 
In  Tome  fair  fpace  of  doping  greens 

Lay,  dozing  in  the  vale  of  Avalon, 

And  watched  by  weeping  queens. 

Or  hollowing  one  hand  againd  his  ear, 

To  lift  a footfall,  ere  he  faw 

The  wood-nymph,  dayed  the  Tufcan  king  to  hear 
Of  wifdom  and  of  law. 

Or  over  hills  with  peaky  tops  engrailed, 

And  many  a trad!  of  palm  and  rice, 

The  throne  of  Indian  Cama  dowly  failed 
A dimmer  fanned  with  fpice. 

Or  fweet  Europa’s  mantle  blew  unclafped 
From  off  her  fhoulder  backward  borne ; 

From  one  hand  drooped  a crocus;  one  hand  grafped 
The  mild  bull’s  golden  horn. 

Or  elfe  dufhed  Ganymede,  his  rofy  thigh 
Half  buried  in  the  Eagle’s  down, 

Sole  as  a dying  dar  fhot  through  the  Iky 
Above  the  pillared  town. 


12 


9° 


FROM  “THE  PALACE  OF  ART.” 


Nor  thefe  alone : blit  every  legend  fair 
Which  the  fupreme  Caucahan  mind 
Carved  out  of  Nature  for  itfelf,  was  there, 
Not  lefs  than  life  deiigned. 

***** 


£a  Saintc  JFanrilU. 


»HIS  fpirited  and  interesting  group  was  long  fup- 
pofed  to  have  been  executed  expreflly  for  Francis 
I.  But  fubfequent  inveftigation  proves  it  to  have 
been  painted  about  1518,  to  the  order  of  Lorenzo 
de  Medici,  Duke  of  Urbino,  probably  for  prefentation 
to  Francis  I. 

For  the  fake  of  diftindtion,  the  pidture  is  known  as 
the  “ Benedidtion,” — from  the  poSture  of  one  of  the 
angels, — though  it  is  generally  called  limply  “ The 
Holy  Family,”  and,  fays  M.  Guizot,  needs  no  other 
designation.  Perhaps  no  other  of  his  compositions,” 
he  adds,  “ is  fo  pure  in  Style,  fo  lofty  and  holy  in  ex- 
prellion.  All  the  perfons  in  the  pidture  are  evidently 
filled  with  holy  thoughts.” 

The  Infant  Jefus  is  fpringing  from  his  cradle  into 
the  arms  of  his  mother;  he  is  adored  by  St.  John,  pre- 


92 


LA  SAINTE  FAMILLE. 


Tented  to  him  by  Saint  Elifabeth.  An  angel  is  Teen 
fcattering  flowers  on  the  Virgin ; another  kneels  in 
homage ; and  St.  Jofeph  is  abforbed  in  meditation. 

Kugler  refers  to  it  as  “ peculiarly  excellent.”  He 
fays,  “ The  whole  has  a character  of  cheerfulnefs  and 
joy  j an  eafy  play  of  graceful  lines,  and  the  noblefl: 
forms  which  unite  in  an  intelligible  and  harmonious 
whole.” 

The  original  is  preferved  in  the  Louvre.  Its  dimen- 
flons  are  large ; it  being  fix  feet  eight  and  a half  inches 
high,  by  four  feet  feven  inches  wide  j the  heads  are 
natural  flze. 


Painting. 

By  Prosper  M.  Wetmore. 

Peopling,  with  art’s  creative  power. 
The  lonely  home,  the  filent  hour. 


IS  to  the  pencil’s  magic  lkill 

Life  owes  the  power,  almoft  divine 
To  call  back  vanifhed  forms  at  will, 
And  bid  the  grave  its  prey  refign ; 
Affection’s  eye  again  may  trace 
The  lineaments  beloved  fo  well : 
’Tis  there  the  childlefs  mother  pays 
Her  borrowing  foul’s  idolatry ; 
There  love  can  find,  in  after  days, 

A talifman  to  memory. 

’Tis  thine,  o’er  Hiftory’s  floried  page, 
To  fhed  the  halo  light  of  truth; 
And  bid  the  fcenes  of  by-gone  age 
Still  flourifh  in  immortal  youth — 


94 


PAINTING. 


The  long  forgotten  battle-field, 

With  mailed  men  to  people  forth ; 

In  bannered  pride,  with  fpear  and  fhield, 
To  fhow  the  mighty  ones  of  earth — 

To  fhadow,  from  the  holy  book, 

The  images  of  facred  lore ; 

On  Calvary,  the  dying  look 

That  told  life’s  agony  was  o’er — 

The  joyous  hearts,  and  gliftening  eyes, 
When  little  ones  were  fuffered  near — 
The  lips  that  bade  the  dead  arife, 

To  dry  the  widowed  mother’s  tear; 
Thefe  are  the  triumphs  of  the  art, 
Conceptions  of  the  mafter-mind ; 
Time-fhrouded  forms  to  being  ftart, 

And  wondering  rapture  fills  mankind  ! 

Led  by  the  light  of  Genius  on, 

What  vifions  open  to  thy  gaze  ! 

’Tis  nature  all,  and  art  is  gone, 

We  breathe  with  them  of  other  days : 
Italia’s  vidlor  leads  the  war, 

And  triumphs  o’er  the  enfanguined  plain 
Behold  ! the  Peafant  Conqueror 
Piling  Marengo  with  his  fiain : 


PAINTING. 


95 


That  fun  of  glory  beams  once  more, 

But  clouds  have  dimmed  its  radiant  hue, 
The  fplendor  of  its  race  is  o’er, 

It  fets  in  blood  on  Waterloo  ! 

What  fcene  of  thrilling  awe  is  here  ! 

No  look  of  joy,  no  eye  for  mirth ; 

With  fteeled  hearts  and  brows  auilere, 
Their  deeds  proclaim  a nation’s  birth. 
Fame  here  infcribes  for  future  age, 

A proud  memorial  of  the  free; 

And  flamps  upon  her  deathlefs  page, 

The  nobleft  theme  of  hiftory. 


@lo  tljc  llirgin. 

FROM  THE  GERMAN  OF  NOVALIS. 

By  Richard  Monckton  Milnes. 

N thoufand  forms,  Eternal  Maid, 

Has  pious  Art  imagined  Thee, 

But  never  wert  thou  fo  portrayed, 

As  once,  that  once,  Thou  earn’d:  to  me. 
I only  know  that  dnee  that  fight 
I take  no  thought  of  night  or  day, 

And  all  the  world’s  material  might 
Flees  like  a fhamed  child  away. 

Thou  had’d  me  drink,  and  dnee  full  deep 
I drained  the  cup  thy  hand  had  given, 

A perfect  red,  that  was  not  deep, 

Faded  to  my  foul,  and  made  it  Heaven. 


JHairotma  i>i  San  Ststo. 


«HIS  favorite  Madonna  was  painted,  according  to 
Vafari,  as  an  altar-piece  for  the  high  altar  of  the 
church  of  the  Black  Friars  of  San  Sifto  in  Pia- 
cenza. It  has,  however,  been  fuppofed  that  it 
was  defigned  for  a proceflion  picture,  to  which  opinion 
feveral  writers  of  good  authority  incline. 

Above,  are  the  Virgin  and  the  Infant  Jefus  upon 
clouds,  in  a brilliant  glory  of  countlefs  angel  heads, 
and  below,  St.  Sixtus,  on  one  fide,  and  St.  Barbara  on 
the  other. 

“ Of  all  the  figures  of  the  Virgin,”  fays  De  guin- 
cey,  “his  genius  created,  none  was  conceived  in  a fuller, 
and,  if  we  may  ufe  the  term,  a more  pi&urefque  ftyle.” 
“We  mufi:  further,”  he  adds,  “ point  out  to  admiration 
the  two  cherubim  at  the  foot  of  the  compofition — 
marvels  of  color,  beauty,  expreflion,  and  life,  which 
13 


98 


MADONNA  D I SAN  SISTO. 


abfolutely  Teem  coming  out  of  the  canvas,  fuch  falient 
relief  has  the  painter  given  them.” 

Kugler  declares  this  Madonna  to  be  “ one  of  the 
moft  wonderful  creations  of  Raphael’s  pencil ; fhe  is  at 
once  the  exalted  and  bleffed  woman  of  whom  the 
Saviour  was  born,  and  the  tender  earthly  Virgin  whofe 
pure  and  humble  nature  was  efleemed  worthy  of  fo 
great  a delfiny.”  * * * “This  is  a rare  example  of 

a picture  of  Raphael’s  later  time,  executed  entirely  by 
his  own  hand.  No  dehgn,  no  ftudy  of  the  fubject  for 
the  guidance  of  a fcholar,  no  old  engraving  after  fuch 
a ftudy,  has  ever  come  to  light.  The  execution  itfelf 
evidently  fhows  that  the  picture  was  painted  without 
any  fuch  preparation.” 

This  marvellous  picture  now  forms  the  gem  of  the 
Royal  Gallery  at  Drefden,  which  holds  the  firfl  rank 
among  all  the  collections  in  Germany.  It  was  com- 
menced by  Auguftus  II.,  King  of  Poland;  and  this 
painting  was  purchafed  for  the  Gallery  by  Auguftus  III., 
for  22,000  crowns. 

Mrs.  Jamefon  writes,  u Six  times  have  I vihted  the 
city  made  glorious  by  the  pofTetion  of  this  treafure, 
and  as  often,  when  again  at  a diftance,  with  recollec- 
tion difturbed  by  feeble  copies  and  prints,  I have  begun 
to  think,  ‘ Is  it  fo  indeed  ? is  fhe  indeed  fo  divine  ? or 


MADONNA  D I SAN  SISTO. 


99 


does  the  imagination  encircle  her  with  a halo  of  re- 
ligion and  poetry,  and  lend  a grace  which  is  not  really 
there?’  and  as  often,  when  returned,  I have  flood 
before  it  and  confeffed  that  there  is  more  in  that  form 
and  face  than  I had  ever  yet  conceived. 

“In  the  fame  Gallery  is  the  lovely  Madonna  of  the 
Meyer  family ; inexpreflibly  touching  and  perfect  in  its 
way,  but  conveying  only  one  of  the  attributes  of  Mary, 
her  benign  pity,  while  the  Madonna  di  San  Siflo  is  an 
abftraCt  of  all.” 

A modern  traveller  in  Europe,  a fcholar  and  a man 
of  cultivated  tafte  and  refined  fenfibilities,  thus  records 
the  impreflion  made  upon  him  by  this  fublime  compo- 
lition  : — “ The  fpeCtator  feels,  at  firfl,  a little  curious 
and  puzzled  to  account  for  its  effects ; for  this  aflonifh- 
ing  picture  does  not  feem  to  have  been  elaborated  with 
the  patient  pencil  that  has  wrought  fo  unweariedly 
upon  many  other  famous  fubjeCts,  but  rather  to  have 
been  thrown  off,  almoft  as  though  it  had  been  in 
water-colors,  by  an  infpiration  of  divine  genius,  in  a 
fudden  jubilee  of  its  folemn  exercife,  with  a motion 
of  the  hand,  at  the  laft  height  and  acme  of  its  attain- 
ment. * * * Never  before  by  any  like  production 

had  I been  quite  abafhed  or  overcome.  I could  except 
to,  and  fludy  and  compare,  other  pictures : this  paffed 


100 


MADONNA  D I SAN  SISTO. 


my  underftanding.  Long  did  I infped:,  and  often  did 
I go  back  to  re-examine  this  myftery,  which  To  foiled 
my  criticifm,  and  conftrained  my  wonder,  and  con- 
vinced me,  as  nothing  vilible  befides  had  ever  done, 
that  if  no  picture  is  to  be  worfhipped,  fomething  is  to 
be  worfhipped ; that  is  to  be  worfhipped  which  fuch  a 
pi£ture  indicates  or  portrays.  But  the  problem  was  too 
much  for  my  folving.  I can  only  fay,  it  mixed  for  me 
the  tranfport  of  wonder,  with  the  ecftafy  of  delight; 
it  affe&ed  me  like  the  Bgn  of  a miracle ; it  was  the 
fupernatural  put  into  color  and  form ; for  certainly  no 
one,  who  received  the  fuggeftion  of  thofe  features,  the 
fenfe  of  thofe  meek,  fubduing  eyes,  could  doubt  any 
longer,  if  he  had  ever  once  doubted,  of  there  being  a 
God,  a heaven,  and,  both  before  and  beyond  the  fepul- 
chre,  an  immortal  life.  No  one  who  caught  the 
fupernal  expreflion  of  the  whole  countenance,  could 
believe  it  was  made  of  matter,  born  of  mortality,  had 
its  firB:  beginning  in  the  cradle,  or  could  be  laid  away 
in  the  grave,  but  rather  was  of  a quite  datelefs  and 
everlafting  tenure.  I would  be  free  even  to  declare, 
that,  in  the  light  which  played  between  thofe  lips  and 
lids,  was  Chriftianity  itfelf, — Chriftianity  in  miniature, 
for  the  fmallnefs  of  the  fpace,  I might  incline  to  ex- 
prefs  it,  but  that  I fhould  query  in  what  larger  prefent- 


t 


MADONNA  D I SAN  SISTO. 


101 


ment  I had  ever  beheld  Christianity  fo  great.  Mont 
Blanc  may  fall  out  of  the  memory,  and  the  Pafs  of  the 
Stelvis  fade  away;  but  the  argument  for  religion, — 
argument  I call  it, — which  was  offered  to  my  mind  in 
the  great  Madonna  of  Raphael,  cannot  fade.”* 

We  cannot  more  fitly  clofe  this  fketch,  than  by  the 
following  invocation  by  Wordfworth: — 

“ Mother ! whofe  virgin  bofom  was  uncroft 
With  the  leaft  (hade  of  thought  to  fin  allied ! 

Woman!  above  all  women  glorified; 

Our  tainted  nature’s  folitary  boaft ; 

Purer  than  foam  on  central  ocean  toft ; 

Brighter  than  eaftern  Ikies  at  day-break  ftrewn 
With  fancied  rofes,  than  the  unblemifhed  moon 
Before  her  wane  begins  on  heaven’s  blue  coaft, 

Thy  Image  falls  to  earth.  Yet  fome,  I ween. 

Not  unforgiven,  the  fuppliant  knee  might  bend, 

As  to  a vifible  Power,  in  which  did  blend 
All  that  was  mixed  and  reconciled  in  thee, 

Of  mother’s  love  with  maiden  purity. 

Of  high  with  low,  celeftial  with  terrene.” 

* Pi&ures  of  Europe. 


<£o  tl)c  ©emus  of  QUt. 

By  Estelle  Anna  Lewis. 


HOU  art  a beam  from  God — the  brighteft  ray 
That  heaven  hath  earthward  fent  to  cheer  the 
foul 

And  animate  it  in  its  houfe  of  clay, 

With  dreams  of  light,  and  life,  and  glory’s  goal. 
Here,  mutely  worfhipping,  I gaze  on  thee, 

Till  nafcent  haloes  dawn  around  thy  brow, 

And  from  the  portals  of  eternity, 

The  laurelled  dead,  returning,  round  thee  bow. 
There,  bent  o’er  Fornarina’s  fainted  face, 

Feeding  his  foul,  eternal  Raphael  kneels, 

As  if  in  its  pale  hues  he  Hill  can  trace 

Beauty,  furpafling  all  that  Heaven  reveals ; 
Angelo — Titian — all  the  immortal  great, 

Glide  in,  and  at  thy  feet  for  infpiration  wait. 


€I)C  Marriage  of  Joscpl)  att£>  Mary. 

A LEGEND. 


44  m HEN  Mary  was  fourteen  years  old,  the  pried: 
Zacharius  inquired  of  the  Lord  concerning 
her,  what  was  right  to  be  done  j and  an 
angel  came  to  him  and  faid,  ‘ Go  forth  and 
call  together  all  the  widowers  among  the  people,  and 
let  each  bring  his  rod  (or  wand)  in  his  hand,  and  he  to 
whom  the  Lord  fhall  fhow  a ftgn,  let  him  be  the  hus- 
band of  Mary.’  And  Zacharias  did  as  the  angel  com- 
manded, and  made  proclamation  accordingly. 

“ And  Jofeph  the  carpenter,  a righteous  man, 
throwing  down  his  axe,  and  taking  his  ftaff  in  his 
hand,  ran  out  with  the  reft.  When  he  appeared  before 
the  prieft,  and  prefented  his  rod,  lo  ! a dove  iiTued  out 
of  it — a dove  dazzling  white  as  the  fnow, — and  after 


104  THE  MARRIAGE  OF  JOSEPH  AND  MARY. 

fettling  on  his  head,  flew  towards  heaven.  Then  the 
high  priefl:  faid  to  him,  ‘ Thou  art  the  perfon  chofen 
to  take  the  Virgin  of  the  Lord,  and  to  keep  her  for 
him.’  And  Jofeph  was  at  firft  afraid,  and  drew  back, 
but  afterwards  he  took  her  home  to  his  houfe,  and  faid 
to  her,  ‘ Behold,  I have  taken  thee  from  the  temple 
of  the  Lord,  and  now  I leave  thee  in  my  houfe,  for  I 
muft  go  and  follow  my  trade  of  building.  I will  re- 
turn to  thee,  and  meanwhile  the  Lord  be  with  thee 
and  watch  over  thee.’ 

“ So  Jofeph  left  her,  and  Mary  remained  in  her 
houfe.” 


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